Comedy

…All the Marbles

By Adam Lippe

The last film in Robert Aldrich’s storied career, this women’s wrestling “comedy” has been buried for years, only available in various edited VHS versions (a DVD is now available directly from Warner Brothers’ website). I tracked down an uncut version, obviously a bootleg and looking it. Considering the low-rent feel of the film (you won’t […]

Forgotten Silver

By Adam Lippe

Forgotten Silver is an extraordinary and sadly unappreciated document that reveals the career of the great unheralded New Zealand filmmaker Colin McKenzie. Co-directors Costa Botes and Peter Jackson, of Lord of the Rings and Heavenly Creatures fame, give us as yet untold history in their discovery of McKenzie, the creator of the first feature length […]

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 […]

Otto; or Up With Dead People

By Adam Lippe

Sometimes a movie has absolutely no conceivable audience, and you feel like applauding it just for its existence, regardless of quality. Bruce LaBruce’s Otto; or Up With Dead People is a cheap mess, mixing his penchant for camp and gay porn, with zombies and avant-garde film references, not to mention film-within-a-film nonsense. Otto is clumsy […]

Harold and Kumar Escape From Guantanamo Bay

By Adam Lippe

How does one review a movie where, by the opening credits, one of the main characters has delighted himself by jizzing on his own face? “The best scene of its kind since Shortbus!” I guess the only important question is if it is funny.

Baby Mama

By Adam Lippe

When you read about Tina Fey and Amy Poehler wanting to work together, you should be wary. Because it usually means they’ll find a script that happens to have two female leads, but doesn’t suit their comedic talents at all. Such is the problem with Baby Mama. Both bring their personalities to the film, but […]

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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.