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Death Watch

By Adam Lippe

Just because you’re prescient, doesn’t make you smart. It might be an accident. Take Richard Brooks’ Wrong is Right, his penultimate film (and his second looniest, behind his final film Fever Pitch), made 5 years after his last studio film, 1977’s Looking for Mr. Goodbar. Now Wrong is Right appears to have guessed right in […]

The Boondock Saints II: All Saints Day

By Adam Lippe

Is there any inherent pressure for a director when following up a failure, especially when you’ve made a sequel distributed by a studio that’s known for constantly releasing such fare? In the past few years, Sony has been putting out belated DTV sequels to the most random, unsuccessful movies in their back catalog; such as […]

Zombieland

By Adam Lippe

It’s been said that Russ Meyer primarily made silly exploitation movies filled with huge breasts, wild editing styles, and jokey narration because when he tried to make a real movie, such as The Seven Minutes, it would either be dull or devolve into camp, like his most famous films, Beyond the Valley of the Dolls, […]

Sorority Row

By Adam Lippe

You know what might make an interesting frat house slasher movie? If they incorporated reverse gentrification instead of just the standard “rich bitches.” Imagine a sorority struggling to find funding, and as the economy dips further, so does the state of their house. They can’t afford a caretaker, they can’t even pay for clean water, […]

Drag Me to Hell

By Adam Lippe

Any actor willing to look foolish on camera should be cherished for their surprising lack of shame. Since acting is almost entirely about insecurity, ego, and validation, someone willing to forgo all of that “for the good of the project” is a rare find. The king of this fearlessness is undoubtedly Kurt Russell, who enthusiastically […]

The Life Aquatic

By Adam Lippe

It may be near impossible to mix ironic distance with serious violence and death, but there was certainly an effort put forth in The Life Aquatic. I’m not sure what the point was to throw graphic violence and pirates into a self-conscious comedy satirizing such a thin target as how silly Jacques Cousteau films look […]

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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.