Bumfights

By Adam Lippe

bumfights-topA few days ago, I saw Bumfights: A Cause For Concern, which is not aptly named, as there are is but a 4 second [staged] clip where one bum bites another. Mostly, it’s made up of clips of suburban teenagers fighting, badly. But the producers also pay bums to injure themselves, tattoo things on themselves, etc. There’s also a really unfunny section called Bumhunter, which is a parody of Crocodile Hunter, where this guy pretending to be Steve Irwin, accent, uniform and all, and sneaks up to sleeping homeless people, ties them up, pretends they are animals and describes their marks, scars and clothing. These parts are clearly not staged and it sort of moves into that sickening, pointless area. Why are they picking on these homeless people? Because they are rich kids with nothing to do and these people won’t fight back. At one point, the Bumhunter gets bitten and you can see him bleeding (as well as discarded needles on the ground), and I thought, maybe, if there is a God, he would smile down on this idiot, and hopefully give him AIDS. What’s worse is, it’s all hype the filmmakers both lack tact and balls since they do something really tasteless like tie up homeless people, but then don’t have the chutzpah to do anything with that concept. It’s material that’s basically afraid of itself. Proof is in the fact that they are trying to gross us out by showing bums taking a shit and we see it come out, but they censor bum blowjobs, even though they have a bikini model they hired to sex it up a bit at dead moments. So they are clearly selling sex as well and the censoring is just really hypocritical.

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Roadracers

By Adam Lippe

Whenever there’s a genre parody or ode to a specific era of films, such as Black Dynamite’s mocking of Blaxploitation films or Quentin Tarantino’s Death Proof, the second half of Grindhouse, the danger is that the film might fall into the trap of either being condescending without any particular insight, or so faithful that it becomes the very flawed thing it is emulating.

Black Dynamite has nothing new to say about Blaxploitation films, it just does a decent job of copying what an inept [...]


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Featured Quote (written by me)

On Cold Fish:

Though the 16 year old me described the 1994 weepie Angie, starring Geena Davis as a Brooklyn mother raising her new baby alone, as “maudlin and melodramatic,” Roger Ebert, during his TV review, referring to the multitude of soap-operaish problems piling up on the titular character, suggested that it was only in Hollywood where Angie would get a happy ending. “If they made this movie in France, Angie would have shot herself.”

Well Cold Fish was made in Japan, where Angie would have shot herself and that would have been the happy ending.