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Moon

By Adam Lippe

A sterile home is just plain creepy. It suggests something unlived in, frozen in time, free from human connection. David Cronenberg (Dead Ringers, The Fly, Scanners) knows this, which is why he’s always setting sections of his movies in hospitals, the most antiseptic place possible. The body that had previously inhabited the room is gone. […]

Tightrope

By Adam Lippe

There’s nothing more menacing than a serial killer into S&M who completes the picture by wearing a stolen pair of Mr. Rogers’ sneakers*. Ok, maybe I’m just making up that last part. There’s no reason to think he stole the shoes, Mr. Rogers might have lent them out to him. Anyway, 1984’s tawdry Tightrope, a […]

The Sequel Rule

By Adam Lippe

Quite some time ago, I came to the realization that I had not been to a sequel in the theater since Hannibal, a book which I hated, but I was dragged by my ex and a friend who wanted to see it. I thought about why sequels were made and to what kind of movies […]

Europa

By Adam Lippe

Here’s the idea behind “A Canadian, an American, a Lawyer, and an Elitist”: Rhett’s favorite movie is “Meatballs 4”, Shawn has an unhealthy fixation on Resident Evil, Richard scoffs at anything that isn’t pretentious and hoity toity, and Adam is a prick who hates everything. We all watch far too many movies, and spend 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.