Drama

The Social Network

By Adam Lippe

Do casting directors have a better sense of irony than previously thought? Obviously, that’s a nugget that hovers over all of us daily, overtaking our will until we can think of nothing else, but how else to explain the casting of Justin Timberlake as Napster co-founder Sean Parker in David Fincher’s The Social Network? Napster’s […]

A Podcast with Amy Ryan, star of Gone Baby Gone and Jack Goes Boating

By Adam Lippe

Here’s a podcast with Amy Ryan, Oscar nominated for Gone Baby Gone and Jack Goes Boating, which she was promoting in this particular case. The film is the directorial debut of Phillip Seymour Hoffman, who you can see in the photo to your left, accompanied by his dreadlocks. There were seven of us in the […]

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 […]

The Town

By Adam Lippe

When an actor with aspirations to become a director is on the set of a movie he regrets signing up for, does he use it as an excuse to learn what not to do? If it’s a film he does believe in, does he take mental notes on what he should be doing? Or is […]

Howl

By Adam Lippe

Recently I interviewed Noah Buschel, the director of The Missing Person,  on the various ways the independent film world works and how it has changed over the past ten years. Noah would know better than most about this subject, because he made three films in three different eras of independent films, always having to change […]

Uwe Boll’s Heart of America

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 […]

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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.