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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 […]

Public Enemies

By Adam Lippe

It’s quite the bold move to deliberately make your movie an eyesore. This is especially true when you’re someone like Michael Mann (Heat, Manhunter, Collateral), who is known specifically for his unique visuals. His new film, Public Enemies, is shot on video, and not in the same way that a lot of new movies are […]

Step Brothers

By Adam Lippe

Do you like 90 minutes of screaming? Do you not care about building laughs or story or anything besides watching two actors yell at each other in confused versions of profanity? Do you like being distracted by Mary Steenburgen disastrous facelift? Do you like characters that have no logical reason for existing, even more pathetic […]

Equality U

By Adam Lippe

Most recent documentaries have one major obstacle that prevents them from widespread exposure, and that’s that they are intended to enlighten and/or change the minds of those people who would never watch a documentary in the first place. Political documentaries are the worst offenders because most of them are made by those on the left, […]

Physical Evidence

By Adam Lippe

On the recently deceased website JumptheShark.com,* it was decided that adding Ted McGinley to a TV show was the death knell, the very moment that the show would take a downturn, never to recover.(examples include Happy Days, Dynasty, and The Love Boat). In the case of the routine Burt Reynolds vehicle, Physical Evidence, he is […]

Angel

By Adam Lippe

The 1980’s was a decade that often had conflicting values, which were morally conservative, yet socially irresponsible. Nowhere was this better exemplified than with the way that the Grindhouse exploitation movies of the 70’s became unsubtly repressed in the 80’s, mixing beloved trash with fearful cautionary tales that punished pleasure.

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.