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The Company Men

By Adam Lippe

The most dominant trend in recent big budget films has been trying to humanize the superhero, as if he/she was a real person with real problems (Watchmen, Hancock, My Super Ex-Girlfriend, etc.). Sometimes, as with Defendor and Kick-Ass, the characters don’t have superpowers and the joke is not just their ineptitude but the annoyances of […]

When Will I Be Loved

By Adam Lippe

When Will I Be Loved, another James Toback venture into his dated version of the unseemly, has mostly gained notoriety for Neve Campbell’s nude scenes, which bookend the film, and have literally nothing to do with it. Toback’s legendary misogyny is often hidden behind the idea that strong women know how to assert their sexuality, […]

Wisdom

By Adam Lippe

When Emilio Estevez turned 24 years old, directly after the success of St. Elmo’s Fire, The Breakfast Club, Repo Man, The Outsiders and writing the screenplay for the S.E. Hinton adaptation That Was Then… This Is Now, he convinced Fox to let him write, direct, and star in his own film, under the aegis of […]

Nothing But Trouble

By Adam Lippe

Everything about Nothing But Trouble is so elaborate, yet so pointless. The only laugh in the entire movie is when Dan Aykroyd put a gas nozzle on a tin of Hawaiian Punch. However, there is the enjoyable notion of a condiment train and that gaffe where Demi Moore’s [pre-surgery] tits fall out of the top […]

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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.