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A podcast with Ann Louise Bardach, the screenwriter of Dennis Hopper’s Backtrack

By Adam Lippe

Here’s a podcast with Ann Louise Bardach, journalist for The New York Times, Newsweek, Slate, etc., and the screenwriter of Dennis Hopper’s Backtrack, the director’s cut of which I reviewed here. Now Backtrack was an incredibly troubled production, sitting on the shelf for two years before being dumped by its bankrupt distributor in a cut […]

Backtrack: Director’s Cut

By Adam Lippe

The imagery described by Hannibal Lecter (played by Anthony Hopkins) in Silence of the Lambs of Clarice Starling (played by Jodie Foster) where, as an orphaned young girl running away from the farm where she lives, carrying a baby lamb away from inevitable slaughter with her, is etched into society’s cultural mind as much as […]

How Do You Know

By Adam Lippe

A visual motif is supposed to be used to express a feeling that is never overtly expressed by the characters, revealing something about them that they’re unaware of or trying to hide. A perfect example is Tammy Metzler in the movie Election, and the use of garbage that she either hides behind or hangs out […]

Never Let Me Go

By Adam Lippe

One of the smartest things that Charlie Kaufman did with his script for Being John Malkovich was to push back the reveal of the central concept for almost an entire act. An interfering producer might have insisted that the movie start on page 30. But, luckily, Kaufman was also a credited executive producer on the […]

Scott Pilgrim vs. the World

By Adam Lippe

Back in 1991, when Naked Lunch was released to theaters, famed critic Roger Ebert had a rather unique response to the film. While he admitted that David Cronenberg had done a terrific job adapting the feeling of the William H. Burroughs novel that the movie was based on (there’s no real way to actually adapt […]

Knight and Day

By Adam Lippe

He looks aghast at the poster for the party. I Sold My Mom’s Wheelchair. “Dance music for old people?” It’s the moment that John Cusack’s character in Stephen Frears’ High Fidelity realizes that this poster is being used to promote a band he just signed, and the party and album title will be one he’s […]

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.