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DID YOU READ

Critic wrangle: “No Country For Old Men.”

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"It'll do till the mess gets here."
Even the New York PressArmond White likes the Coen brothers’ "No Country For Old Men," adapted from the novel by Cormac McCarthy: "It would be pathetic to reduce/praise No Country as a thriller. The Coens’ technique goes far beyond that. Moss, Chirgurh and Bell’s appointments with mortality lift the film from plot mechanisms to a confrontation with fate." Solid to delirious praise from most of the rest of our usual round of critics. We particularly liked this, from A.O. Scott at the New York Times:

[T]he most lasting impression left by this film is likely to be the deep satisfaction that comes from witnessing the nearly perfect execution of a difficult task. “No Country for Old Men” is purgatory for the squeamish and the easily spooked. For formalists — those moviegoers sent into raptures by tight editing, nimble camera work and faultless sound design — it’s pure heaven.

"’No Country for Old Men’ is as good a film as the Coen brothers, Joel and Ethan, have ever made, and they made ‘Fargo,’" adds Roger Ebert. "This movie is a masterful evocation of time, place, character, moral choices, immoral certainties, human nature and fate. It is also, in the photography by Roger Deakins, the editing by the Coens and the music by Carter Burwell, startlingly beautiful, stark and lonely." From Scott Foundas at the LA Weekly:

It’s easy to imagine how the Coens, whose Achilles’ heel has always been their predilection for smug irony and easy caricature, might have turned McCarthy’s taciturn Texans into simplistic western-mythos archetypes: the amoral criminal, the righteous peacekeeper, and the naive but basically good-hearted rube in over his head. Instead, they’ve made a film of great, enveloping gravitas, in which words like "hero" and "villain" carry ever less weight the deeper we follow the characters into their desperate journeys.

Keith Phipps at the Onion AV Club deems the film "a strong return after a few years off" for the Coens, while Lisa Schwarzbaum at Entertainment Weekly writes that the film "reverses [their] slide into arch pastiche, brilliantly." Glenn Kenny at Premiere suggests that "the picture represents a high-water mark for the Coens. It’s their best picture, and could well turn out to be the best picture of the year." And of the ending, which goes in directions you might not expect, Michael Koresky at indieWIRE writes that  "The Coens close the film with what might be the most take-your-breath-away ending since Richard Linklater both refused and granted our wishes with "Before Sunset"’s final fade-out."

Among the less-sold: Anthony Lane at the New Yorker is impressed by the technical skill of the film, but is left emotionally cold: "[T]here remains a nagging sense that the Coens are not so much investing their emotions in a cinematic genre—in this case, the Western revenge drama—as picking it up, inspecting it, and then setting themselves the task of constructing a perfect copy." So is Slate‘s Dana Stevens, who declares that "while it may be their most ambitious and successful film in years, remains just a Coen brothers movie, a curio to collect rather than an experience to remember." Stephanie Zacharek at Salon adds that the film "feels less like a breathing, thinking movie than an exercise."

David Edelstein at New York calls it "a near masterpiece" but also "a cosmic bummer": "No one, not even Jones’s sheriff, has comparable weight, and so, in the end, cruelty, chaos, and resignation swamp everything—including the Coens’ evident delight in their crackerjack thriller set pieces and soulfully weird actors." Andrew Sarris at the New York Observer echoes that "I cannot look at it and write about it in any other way than as an exercise in cosmic futility," though he concludes that he’s not sorry he saw it. And Jonathan Rosenbaum at the Chicago Reader writes a fascinating if frustrating pan in which he essentially deems the film’s perceived nihilism a kind of perverse panacea for a troubled national psyche. He places Chigurh alongside Hannibal Lecter as figures that are "a savior of sorts, a saintlike holy psycho who made us feel less uneasy about wanton slaughter," writing that "the picture of human nature in No Country for Old Men is… so bleak I wonder if it must provide for some a reassuring explanation for our defeatism and apathy in the face of atrocity."

As for us, we’ve shrieked our love for this film out enough already. Our review from Cannes is here; we’re eager to see how it’ll do at the box office. It’s hard to believe any other film this year will receive comparative praise, but it also seems a little too dark, too strange for mainstream or award success. We’d love to be proven wrong.

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Last-Minute Holiday Gift Guide

Hits from the '80s are on repeat all Christmas Eve and Day on IFC.

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GIFs via Giphy, Photos via The Everett Collection

It’s the final countdown to Christmas and thanks to IFC’s movie marathon all Christmas Eve and Christmas Day, you can revel in classic ’80s films AND find inspiration for your last-minute gifts. Here are our recommendations, if you need a head start:

Musical Instrument

Great analog entertainment substitute when you refuse to give your kid the Nintendo Switch they’ve been drooling over.

Breakfast In Bed

Any significant other or child would appreciate these Uncle Buck-approved flapjacks. Just make sure you’re not stuck on clean up duty.

Cocktail Supplies

You’ll need them to get through the holidays.

Dance Lessons

So you can learn to shake-shake-shake (unless you know ghosts willing to lend a hand).

Comfy Clothes

With all the holiday meals, there may be some…embigenning.



Get even more great inspiration all Christmas Eve and Day on IFC, and remember…

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A-O Rewind

Celebrating Portlandia One Sketch at a Time

The final season of Portlandia approaches.

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GIFs via Giphy

Most people measure time in minutes, hours, days, years…At IFC, we measure it in sketches. And nothing takes us way (waaaaaay) back like Portlandia sketches. Yes, there’s a Portlandia milepost from every season that changed the way we think, behave, and pickle things. In honor of Portlandia’s 8th and final season, Subaru presents a few of our favorites.

via GIPHY

Put A Bird On It

Portlandia enters the pop-culture lexicon and inspires us to put birds on literally everything.

Colin the Chicken

Who’s your chicken, really? Behold the emerging locavore trend captured perfectly to the nth degree.

Dream Of The ’90s

This treatise on Portland made it clear that “the dream” was alive and well.

No You Go

We Americans spend most of our lives in cars. Fortunately, there’s a Portlandia sketch for every automotive situation.

A-O River!

We learned all our outdoor survival skills from Kath and Dave.

One More Episode

The true birth of binge watching, pre-Netflix. And what you’ll do once Season 8 premieres.

Catch up on Portlandia’s best moments before the 8th season premieres January 18th on IFC.

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WTF Films

Artfully Off

Celebrity All-Star by Sisters Weekend is available now on IFC's Comedy Crib.

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Sisters Weekend isn’t like other comedy groups. It’s filmmaking collaboration between besties Angelo Balassone, Michael Fails and Kat Tadesco, self-described lace-front addicts with great legs who write, direct, design and produce video sketches and cinematic shorts that are so surreally hilarious that they defy categorization. One such short film, Celebrity All-Star, is the newest addition to IFC’s Comedy Crib. Here’s what they had to say about it in a very personal email interview…

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IFC: How would you describe Celebrity All-Star to a fancy network executive you just met in an elevator?

Celebrity All-Star is a short film about an overworked reality TV coordinator struggling to save her one night off after the cast of C-List celebrities she wrangles gets locked out of their hotel rooms.

IFC: How would you describe Celebrity All-Star to a drunk friend of a friend you met in a bar?

Sisters Weekend: It’s this short we made for IFC where a talent coordinator named Karen babysits a bunch of weird c-list celebs who are stuck in a hotel bar. It’s everyone you hate from reality TV under one roof – and that roof leaks because it’s a 2-star hotel. There’s a magician, sexy cowboys, and a guy wearing a belt that sucks up his farts.

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IFC: What was the genesis of Celebrity All-Star?

Celebrity All-Star was born from our love of embarrassing celebrities. We love a good c-lister in need of a paycheck! We were really interested in the canned politeness people give off when forced to mingle with strangers. The backstory we created is that the cast of this reality show called “Celebrity All-Star” is in the middle of a mandatory round of “get to know each other” drinks in the hotel bar when the room keys stop working. Shows like Celebrity Ghost Hunters and of course The Surreal Life were of inspo, but we thought it
was funny to keep it really vague what kind of show they’re on, and just focus on everyone’s diva antics after the cameras stop rolling.

IFC: Every celebrity in Celebrity All-Star seems familiar. What real-life pop personalities did you look to for inspiration?

Sisters Weekend: Anyone who is trying to plug their branded merch that no one asked for. We love low-rent celebrity. We did, however, directly reference Kylie Jenner’s turd-raison lip color for our fictional teen celebutante Gibby Kyle (played by Mary Houlihan).

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IFC: Celebrity seems disgusting yet desirable. What’s your POV? Do you crave it, hate it, or both?

Sisters Weekend: A lot of people chase fame. If you’re practical, you’ll likely switch to chasing success and if you’re smart, you’ll hopefully switch to chasing happiness. But also, “We need money. We need hits. Hits bring money, money bring power, power bring fame, fame change the game,” Young Thug.

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IFC: Who are your comedy idols?

Sisters Weekend: Mike grew up renting “Monty Python” tapes from the library and staying up late to watch 2000’s SNL, Kat was super into Andy Kaufman and “Kids In The Hall” in high school, and Angelo was heavily influenced by “Strangers With Candy” and Anna Faris in the Scary Movie franchise, so, our comedy heroes mesh from all over. But, also we idolize a lot of the people we work with in NY-  Lorelei Ramirez, Erin Markey, Mary Houlihan, who are all in the film, Amy Zimmer, Ana Fabrega, Patti Harrison, Sam Taggart. Geniuses! All of Em!

IFC: What’s your favorite moment from the film?

Sisters Weekend: I mean…seeing Mary Houlihan scream at an insane Pomeranian on an iPad is pretty great.

See Sisters Weekend right now on IFC’s Comedy Crib

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