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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 […]

Dogtooth

By Adam Lippe

If you could mold a robot in your own image, would you? The robot doesn’t have to look like you, but its opinions and emotions would entirely be filtered through your world view, excising any outside influence. It would have exaggerated versions of your fears and failures too, and while many people try to live […]

Taking the Yellow Out of the Yellow People

By Adam Lippe

Having watched Yasujiro Ozu’s Good Morning on DVD, I may have to turn in my snob card, or maybe I should get a special dispensation. Is it because I watched this movie in particular? No. It’s a gentle comedy on the surface, and a pretty rough criticism of Japanese culture underneath. This is because of […]

The Village

By Adam Lippe

You know, it’s clunky, the idea is kind of predictable, but I was spooked at times, and I always find M. Night’s films to be clever, if not always the day after viewing them. I’m glad what seemed to be the surprise was revealed at the beginning of act III, not the end. The concept […]

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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.