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A podcast q+a with the director of Splice and Cube, Vincenzo Natali

By Adam Lippe

Here’s a 30-minute Q&A with Vincenzo Natali, the director of Splice, which I recorded after a screening of the film last week. Vincenzo was very composed and self-effacing and was willing to answer any question (including a deliberately absurd one I asked early on). Those who haven’t seen Splice may want to skip through this […]

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.