This week on IFC News:
The way I describe it to people, even those working on the movie, I say, "This sounds really weird, but think of this as a real movie." I swear, everyone thinks there are different rules if you’re making a horror movie. "Oh, the acting should be like this, and that should be…" Fuck all that bullshit, you know? It doesn’t make any sense. That’s why I’ve never been a fan of horror movies that are campy â€” that drives me crazy. I hate that shit. I want things to be serious. Even a movie that’s not a horror movie, like "One Flew Over the Cuckoo’s Nest" â€” think about how fuckin’ intense the shit in that movie is, from Brad Dourif‘s character killing himself to Nicholson getting the shock treatment. You’re so caught up with these real people, it’s like you’re there living it for real. But when you’re making way over-the-top scenarios, I don’t know… People watch these things for different reasons. I’ve never been a big fan of giant special-effects gags where everyone yells and screams. It’s like a Roadrunner cartoon.
Michael Atkinson adores Zoe Cassavetes‘ "Broken English" â€” "so far 2007’s reigning small Ameri-movie, by simple and lonely virtue of the mature intelligence and respect it pays to its characters and life at large" â€” and also takes on BuÃ±uel‘s "The Young One."
How well do you know the 1990s’ scruffiest film icon? Try out Ethan Hawke: A Quiz.
This week on the podcast, we do our fall movie preview.
Matt Singer likes Johnny To’s "Exiled": "Get ready for shoot-outs, and you better like them absurd-slash-borderline ridiculous. The film is filled from start-to-finish with massive gunfights that rival anything in the bombastic To’s oeuvre."
And Christopher Bonet has what’s new in theaters.