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Vigil

By Adam Lippe

If Vincent Ward had been allowed to make his version of Alien 3, that film might have been thought of in a positive manner, as opposed to just, “the first of many forgettable follow-ups to Alien and Aliens.” Ward’s conception* was that there was a monastery where all the monks acted as though they were […]

Super 8

By Adam Lippe

When the great fake critic Joe Bob Briggs was hosting Monstervision on TNT back in the mid-1990s, he was often forced to show films that he didn’t appreciate. This didn’t happen when he was on premium channels like The Movie Channel, proudly examining low budget schlock behind his stereotypical redneck character, where the exposure was […]

1900

By Adam Lippe

Here’s the idea behind “A Canadian, an American, a Lawyer, and an Elitist”: Rhett’s favorite movie is Meatballs 4,  Shawn has an unhealthy fixation on Resident Evil, Richard scoffs at anything that isn’t pretentious and hoity toity, and Adam is a prick who hates everything. We all watch far too many movies, and spend our […]

Running Time

By Adam Lippe

An attempt by producer/star Bruce Campbell and director Josh Becker to outdo Rope, this sparse but tense action film, is striking not just because it appears to be all in one shot, but because the movie manages to entertain apart from the gimmick. All of the cuts are hidden, unlike Rope, and Hitchcock did it […]

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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.