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A podcast with Rolf De Heer, director of Bad Boy Bubby, The Tracker, and The Quiet Room

By Adam Lippe

Here’s a podcast with Australian director Rolf De Heer. It was originally recorded in August of 2008 and there was even an unedited and intro-free version on the site before. I’ve cleaned it up significantly, trimming 20 minutes and tightening it up to the point where it flows considerably better than it did before. Now […]

Amelie: Or how by writing a review on the three different versions I bought, I can write it off on my taxes.

By Adam Lippe

That Amelie is vacuous, blindly optimistic, without meaning, nor about anything in particular did not stop it from being the second best movie screened in the US in 2001 (the best was far and away Battle Royale, which still has no distribution). Stuffed with so many bizarre and wonderful ideas as to shame Being John […]

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 [...]

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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.