DID YOU READ

Tim Grierson on Brad Pitt, the Unpredictable Movie Star

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Brad Pitt is unquestionably a movie star, but what kind is he? The lead in this past weekend’s “Killing Them Softly,” he doesn’t have a single movie in the Top 140 of the all-time domestic box office chart, and his biggest worldwide hit, “Troy,” is just outside the Top 100 of the international chart. And yet he’s indisputably one of our most recognizable faces, one half of the world’s biggest celebrity couple. But despite the many memorable films he’s been a part of over the last 20 years, he doesn’t have a “Pirates of the Caribbean” or “Men in Black” franchise that’s catapulted him into the ranks of mega-blockbuster stars. (Even the “Ocean’s Eleven” films don’t quite count because of their ensemble nature and the fact that none of them have ever cracked $200 million. They’ve always been cool, hip doubles or triples rather than outright home runs.) I don’t bring any of this up to knock him. In fact, I realize it’s part of the reason why I like him so much. With his looks and charisma, he was probably going to be a star regardless. But how he’s decided to approach his stardom has been consistently gratifying as a viewer.

Pitt will turn 49 on December 18, making him about six months younger than Johnny Depp and 18 months younger than Tom Cruise. He’d been working in television in the late ‘80s — landing parts on everything from “Dallas” to “Head of the Class” to “21 Jump Street” — before really coming to moviegoers’ attention with 1991’s “Thelma & Louise.” It was a minor but crucial role as a cocky hunk who seduces Thelma and, oh yeah, steals her money. Despite not having a lot of screen time, Pitt established a persona that has presaged just about every role he’s taken since, playing a handsome, carefree guy who’s sharper and more calculating than he first appears. Additionally, it was a quality movie, an early sign that he (or, at least, his handlers) had the good sense to pick strong, interesting work.

The rest of the ‘90s saw Pitt transitioning into studio projects, but hardly ones that were always overtly commercial. He would do an “Interview With the Vampire,” where he played second fiddle to Cruise, but he’d also try his hand at more thoughtful fare like “Seven Years in Tibet” and “A River Runs Through It,” a drama directed by Robert Redford that inspired many comparisons between the boyishly gorgeous young actor and his equally photogenic, golden-haired director. But like Redford, Pitt didn’t want to be judged just by his looks, choosing edgier thrillers like “Kalifornia,” “Twelve Monkeys” and “Seven” that would showcase his darker side. (And with “Twelve Monkeys,” he received his first of four Oscar nominations, for Best Supporting Actor.)

The decade culminated in perhaps the perfect amalgam of Pitt’s commercial and artistic ambitions, starring in “Seven” director David Fincher’s “Fight Club,” still one of the nerviest, most subversive movies to ever come from a studio. Not surprisingly, the movie bombed, only to become a cult hit in subsequent years. As Tyler Durden, the loopy, dangerous mentor to Ed Norton’s miserable office drone, Pitt delivered his finest performance to that point, fully comfortable as a seductive movie star but willing to play with that image to produce a character who was funny and unsettling.

This isn’t to say he didn’t have his missteps. His earnest turn in “Meet Joe Black” couldn’t save that film, and his one-note gimmick of a performance in “Snatch” could make you worry that he was getting bored with being a star and lapsing into self-indulgence. But then he’d surprise you with something that seemed completely dashed-off and yet endlessly amusing. At least that’s my take on “Ocean’s Eleven,” that rare instance when a lot of big-name talent — director Steven Soderbergh, stars George Clooney, Matt Damon, Julia Roberts and Pitt — all decide to make a big, silly, stylish lark and it actually turns out to be as much fun to watch as it sounds like it was to make. Pitt’s Rusty isn’t so much a character as he is an attitude, but that hardly mattered since the actor’s essence filled in the gaps; “Ocean’s Eleven” and its two sequels are Pitt at his most effortless, having a ball but letting the audience feel like they’re part of the gang as well.

His career was soon going to change thanks to “Mr. & Mrs. Smith,” the 2005 hit that’s still his highest-grossing in the U.S. The movie is completely fine, but its real cultural impact is that it set in motion his relationship with co-star Angelina Jolie (and breakup with wife Jennifer Aniston), which became instant tabloid fodder. Since then, Pitt and Jolie have always been overshadowed a little by the whole “Brangelina” phenomenon. That’s too bad since Pitt has worked his hardest to make us focus on the work instead, starring in “Babel,” “The Assassination of Jesse James by the Coward Robert Ford” and “The Curious Case of Benjamin Button” (his third pairing with Fincher). “Jesse James” in particular was a real revelation: a chance for Pitt to play the quietly frightening mythic villain James, who already seems to have one foot in the grave as the movie begins. It’s perhaps his greatest performance and the sort of role that’s ideal for a star who knows how to exude charisma while at the same time communicating the weariness of man so famous that it’s almost like his real self is vanishing. Clearly, it can be quite tempting to look at “Jesse James” as Pitt’s commentary on his own celebrity.

Entering his third decade in film, he’s hardly resting on his laurels. His work in “The Tree of Life” was another Pitt entirely: a larger-than-life ‘50s father who seemed to embody all the rugged, emotionally stunted masculinity of that generation of men. And then “Moneyball,” where endless charm and even-more-endless competitiveness duked it out. In a sense, that role was an encapsulation of the Pitt we now know: immensely likable, nonchalantly commanding, soulful around the edges. And his next two movies are, as always, a demonstration of his different creative impulses. The prickly, distinctive “Killing Them Softly” finds him reuniting with his “Jesse James” writer-director, Andrew Dominik, while next year’s “World War Z” is a hopeful studio blockbuster. “Killing Them Softly” will tank — it received a disastrous “F” rating from the audience polling company CinemaScore — but it hardly matters. (Pitt, playing a principled gangster, is terrific in it.) This is one of the advantages of being a star who’s not really beholden to any one big franchise: He can do what he pleases, and more often than not, what he does is worth your time. I see no reason to think that will change in the near future.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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