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Year One

By Adam Lippe

It doesn’t happen often. But sometimes you can tell how stale and unfunny a comedy is going to be just from the marketing alone. I’m not referring to the TV ads and trailers, which take bits out of context, often changing their meaning and humor value. I mean situations where a cast member shows up […]

Re-boot to the Head

By Adam Lippe

Bigger. Louder. Faster. These adjectives are the most deceptive in all of advertising, because they are almost as meaningless with context as without. The idea behind a “reboot” is to personify those three tantalizing words. In the case of the re-imagining of Star Trek, you’re being sold a brand name and nothing else. This new […]

Cool Blue

By Adam Lippe

It used to take a lot of effort for a star vehicle to go straight to video, especially during the late 1980’s, at the height of VHS’s popularity. Cool Blue probably seemed like an ideal low-budget project for Woody Harrelson, where he could stretch by playing the struggling artist, but also cater to his fans […]

Nothing But Trouble

By Adam Lippe

Everything about Nothing But Trouble is so elaborate, yet so pointless. The only laugh in the entire movie is when Dan Aykroyd put a gas nozzle on a tin of Hawaiian Punch. However, there is the enjoyable notion of a condiment train and that gaffe where Demi Moore’s [pre-surgery] tits fall out of the top […]

Now on DVD and Blu-Ray

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.