Tag Archive

Eye of the Beholder (1999)

By Adam Lippe

Comedian David Cross does a bit on his It’s Not Funny album about how common it is to see a gay couple who look exactly like one another, “same balding pattern, bushy mustache, reverse pear-shaped body.” He goes into more detail exploring how that must be sort of like masturbation, where you can either take […]

The Wolfman (2010)

By Adam Lippe

What must it be like to be stuck on a set of a movie you no longer have any faith in, but are still contractually obligated to finish? You know the movie is going to be derivative, tired, energy-free and mostly incoherent. But some studio head is still giving you notes about how to “improve” […]

The Men Who Stare At Goats

By Adam Lippe

No matter what you think of Saw as a film, it’s hard to deny that the guys who made it, James Wan and Leigh Whannell, are geniuses. Not that they’re all that talented, as a feature film Saw is derivative, badly acted, and needlessly convoluted. What differentiates Wan and Whannell from standard exploitation filmmakers (torture […]

The Informant!

By Adam Lippe

Being intentionally campy is a slippery slope. There are generally two polar opposites that filmmakers aim for, with John Waters and his deliberately wretched acting and fecal excess on one side and Pedro Almodovar and his brightly colored wallpaper and screaming transvestites on the other. Well, maybe there’s not a huge difference, but in terms […]

Five Minutes of Heaven

By Adam Lippe

Period pieces always create a lot of problems for filmmakers, from the costumes, make-up, style of speech, and an overall look of the actors. It gets worse when the movie takes place in an era that the audience might have lived through. But when directors get bogged down in these small details, they often lose […]

The Informers

By Adam Lippe

I’ve never had a pony. I’ve never seen one do tricks. And yet, I somehow know what a one-trick pony is. I think the pony’s name is Bret Easton Ellis. Ellis, a showoffy, limited writer, revels in the shallowness of early-to-mid 1980′s Los Angelinos, had been adapted for the screen three times previous to The […]

Knowing How To Punish Your Audience

By Adam Lippe

In 1991, a masterpiece of excess was unleashed around the world. Initially, it was a cult item, its greatest claim to fame was that a clip from the film, Riki-Oh: The Story of Ricky, was featured as the introduction to the Five Questions segment on The Daily Show, back when Craig Kilborn was hosting. The […]

Physical Evidence

By Adam Lippe

On the recently deceased website JumptheShark.com,* it was decided that adding Ted McGinley to a TV show was the death knell, the very moment that the show would take a downturn, never to recover.(examples include Happy Days, Dynasty, and The Love Boat). In the case of the routine Burt Reynolds vehicle, Physical Evidence, he is […]

Fever Pitch (1985)

By Adam Lippe

There are few films that could legitimately be called unique, but Richard Brooks’ loony final film, Fever Pitch, has no problem earning that distinction. Often, when a once heralded filmmaker begins to lose his way, he either drifts off into obscurity (Richard Lester) or boredom (J. Lee Thompson), paying about half as much attention as […]

Cherry 2000

By Adam Lippe

Here’s the idea behind “A Canadian, an American, a Lawyer, and an Elitist”: Rhett’s favorite movie is Meatballs 4,  Shawn has an unhealthy fixation on Resident Evil, Richard scoffs at anything that isn’t pretentious and hoity toity, and Adam is a prick who hates everything. We all watch far too many movies, and spend our […]

Star Trek V: The Final Frontier

By Adam Lippe

Has such a great idea that it totally throws away. There is an hour and twenty minutes of padding and lame comedy bits (Scotty doing slapstick? A 57 year old Uhura doing a naked dance? Spock singing “Row, row, row your boat”?) before they get to the meat, traveling across the universe to find God. […]

Transsiberian

By Adam Lippe

It is not always a mystery why some films manage to creatively avoid widespread distribution. Brad Anderson’s Transsiberian, a mix of travelogue, relationship drama, Runaway Train, and Renny Harlin’s hilariously anti-Russian Born American, doesn’t fit into a specific category. The movie is well made, has terrific, snowy photography, and its minimal ambitions are an asset. […]

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.