Tag Archive

The Lift

By Adam Lippe

Low budget filmmakers are told to use what they can get, writing their screenplays around what locations they can afford. Reservoir Dogs was made by a director (Quentin Tarantino) who knew he couldn’t afford to shoot a heist movie so he worked out a way to show everything but the heist. Sure, there’s a bit […]

A radio interview with the person who wrote this sentence, on Gtown Radio: Part III

By Adam Lippe

Here is the third in a series of no doubt 4 million appearances (or maybe less) that I made on Ed Feldman’s Morning Feed. Originally the interview ran at an epic length, 3 and 1/2 hours. Now, after some judicious editing, it runs at a mini-epic length of 2 hours, but you’ll still get plenty […]

Dragged, Kicking and Screaming to Answer Year-End/Best of 2011 Questions

By Adam Lippe

I am not a fan of year-end lists. They are entirely reductive and self-congratulatory. However the text below was triggered by another critic, Examiner.com’s Jason Roestel, who asked me to contribute to his year-end piece. So this is a version that fixes as many grammatical errors as I originally had, as well as some significant […]

I Come With the Rain

By Adam Lippe

It’s been said, by a much wiser man than I, that Charles Bronson looked like Mr. Potato Head. This was especially true in his later years in front of the camera, mailing it in while working with J. Lee Thompson and Michael Winner and Cannon Films in the 1980s on such sleazy and workmanlike films […]

Skatetown, U.S.A.

By Adam Lippe

Categorizing a movie as a time capsule reduces it to a simple evocation of a specific time and nothing else. William Friedkin’s To Live and Die in L.A. is drenched in 1985, a Wang Chung score, rampant androgyny, ridiculous car chases, cheerful amorality, and a cynical fetishism that seems modeled on Miami Vice, which debuted […]

An interview with Lynn Shelton, the director of Humpday

By Adam Lippe

Lynn Shelton, the director of Humpday (review and podcast here), was supporting her movie and I got a chance to pester her in person. Humpday is about two friends from college, now older. Ben (played by one of the credited pioneers of the Mumblecore movement, writer/director of The Puffy Chair and Baghead, Mark Duplass), is […]

Public Enemies

By Adam Lippe

It’s quite the bold move to deliberately make your movie an eyesore. This is especially true when you’re someone like Michael Mann (Heat, Manhunter, Collateral), who is known specifically for his unique visuals. His new film, Public Enemies, is shot on video, and not in the same way that a lot of new movies are […]

One-Eyed Jacks

By Adam Lippe

Here’s the idea behind “A Canadian, an American, and an Elitist”: Rhett’s favorite movie is Meatballs 4, Shawn has an unhealthy fixation on Resident Evil, and Adam is a prick who hates everything. We all watch far too many movies, and spend our time analyzing them. So we each watch the same movie, write our […]

The Sequel Rule

By Adam Lippe

Quite some time ago, I came to the realization that I had not been to a sequel in the theater since Hannibal, a book which I hated, but I was dragged by my ex and a friend who wanted to see it. I thought about why sequels were made and to what kind of movies […]

Collateral

By Adam Lippe

Despite Michael Mann’s expertise on the film “look,” the HD video Collateral was shot on looks exquisite, and is just right for the material. If there was one thing I liked about Mann’s Ali, it was the fights, and the way they were photographed, an almost 3-D effect of being there. Mann manages to similarly […]

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 [...]


Veegie Awards

Winner: BEST ONLINE FILM CRITIC, 2010 National Veegie Awards (Vegan Themed Entertainment)

Nominee: BEST NEW PRODUCT, 2011 National Veegie Awards: The Vegan Condom

Archive

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.