A podcast with Tim League, CEO of The Alamo Drafthouse, Fantastic Fest, and Drafthouse Films

By Adam Lippe

Here’s a podcast with Tim League, creator and CEO of The Alamo Drafthouse and Fantastic Fest. This was recorded around November 2010 and the interview was initiated because Tim and Alamo Drafthouse Films were putting out Chris Morris’ Four Lions as their first film. You can hear my interview with Chris Morris here. This very weekend, Drafthouse Films is releasing Miami Connection, a goofy kung fu film that had been thought lost since its original 1987 release.

Tim and I also discuss his involvement as producer on Red, White, and Blue, continuing the conversation lead actress Amanda Fuller and I had about its thematically erratic ending, his contribution to the trailer compilation series 42nd Street Forever, Vol. 5: Alamo Drafthouse Cinema, how to run a repertory theater (a lot of which came in handy when I ran Medium Rare Cinema), hyperbolic critics, genre dishonesty, and a true dissection of a term I created, Phony Whiteboy Nihilism. As per the usual, there are going to be references to things that seem out of nowhere, such as the opening discussion of the trailer for the Sonny Chiba film The Bodyguard. I have posted the trailer for that film and for Lucky Seven below (which will help with my reference to a Wonder Bread robe). On top of that, I put together a musical montage that details the clientele type at the Alamo Drafthouse, made up of footage from the promotional extra on their 42nd Street Forever disc. That’s the very first video you’ll see after the podcast link. Note that the “Grindhouse” film effects were on the original material, and have not been digitally added by me.


Download or stream the podcast below. Or you can subscribe on Itunes to the A Regrettable Moment of Sincerity feed.


Download the full interview. Or if you want to listen to the podcast in a new window, just click the link.





The Bodyguard trailer

Lucky Seven trailer

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Now on DVD and Blu-Ray


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.