A radio interview with the person who wrote this sentence, on Gtown Radio: Part III

By Adam Lippe

Here is the third in a series of no doubt 4 million appearances (or maybe less) that I made on Ed Feldman’s Morning Feed. Originally the interview ran at an epic length, 3 and 1/2 hours. Now, after some judicious editing, it runs at a mini-epic length of 2 hours, but you’ll still get plenty of Mr. Feldman ranting and raving and leching on young female celebrities while I make fun of him for it. My appearance coincided with a screening of Looking for Mr. Goodbar that we held at Medium Rare Cinema back in September. A review of that film will appear on the site soon. Other topics of discussion include Drive, the strange mediocrity of the films of Mike Nichols, the homophobia and misogyny of Mr. Goodbar, the Margaret situation, Michael Rapaport’s documentary on A Tribe Called Quest, the pitfalls of rote film criticism, and many, many other diversions.

Download or stream the podcast below. Or you can subscribe on Itunes to the A Regrettable Moment of Sincerity feed.

[audio:http://www.regrettablesincerity.com/audio/morningfeed09212011adamlippeedfeldman.mp3]

Download the full interview. Or if you want to listen to the podcast in a new window, just click the link.

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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.