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The Master

By Adam Lippe

One of comedian Pete Holmes’ best physical bits has him showing the audience how he likes to stand, with his arms at his sides and with his back arched as he juts his stomach out. “Everybody knows that this is the most comfortable way to stand. I want to stand like a pregnant woman stirring […]

The Fighter

By Adam Lippe

Being a midget can have its advantages, especially in the world of TV acting. This is because what plays best on camera, specifically in close-up, is to have a big head and a small body. That’s why most actors are so short and have enormous heads. A lot of the major action stars of the […]

The Other Guys

By Adam Lippe

Screaming non-sequiturs at the top of your lungs will only get you so far in life. If you’re Will Ferrell, it can get you a financially successful, but poorly made, one-note comedy like Stepbrothers. The fatal flaw of Step Brothers is that Ferrell and John C. Reilly spent their time bellowing profanity at each other […]

The Italian Job (2003)

By Adam Lippe

When the movie was being released, I heard the story that Ed Norton was forced to do the movie, because he was under contract with Paramount and kept turning down script after script, and this was the last option he was given. And yet, Marky Mark claimed this was the best movie he’d ever been […]

I Heart Huckabees

By Adam Lippe

Gene Siskel always maintained that you should never make a movie about people the audience can’t stand. I loathed the characters in I Heart Huckabees. They are jittery, shallow, stupid, and agitated, and that’s exactly how they make the viewer feel. The whole movie is so anxious and you just want to scream at the […]

The Happening

By Adam Lippe

Those who complain about being tired of M. Night Shyamalan’s bag of tricks, twist endings, Spielbergian style and music, contrived plotting, and naïve characters who speak simplistic, dopey dialogue as they bask in the awe, amazement, and discovery of whatever horrible/amazing thing is happening to them, miss the point that most filmmakers don’t ever come […]

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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.