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Nicolas Cage and the Temple of Contractual Obligation

By Adam Lippe

When my girlfriend and I moved to Columbus, Ohio, we did not have much time to find a place to live. We settled on a location that was converted from a post office to a building full of large lofts. The apartment was huge, but it had quite a few deficits. There were no lights […]

X-Men: First Class

By Adam Lippe

An actor who is in dire financial straits, whether because of divorce or other negligence, often results in some rather interesting choices with regards to which roles they accept. Ben Kingsley appeared as villains in both the big screen version of Thunderbirds and in Uwe Boll’s Bloodrayne and why Nicolas Cage has found himself pounding […]

Battle: Los Angeles/Skyline

By Adam Lippe

It’s nearly impossible not to feel sorry for someone who is only made aware that they’ve lost their job through the press. It happens with TV actors all the time, the only way they know that their show has been canceled is when they read about it in Variety or see a report on an […]

Drive Angry/Faster/My Soul to Take/I Spit on Your Grave (2010)

By Adam Lippe

When will disreputable nihilism become boring? Hopefully never. But there comes a point where self-satisfied nastiness taken to an extreme needs a little bit of flavor to distinguish itself. Patrick Lussier’s Drive Angry tries to spice things up with its effective use of 3D and by cobbling together as many exploitation clichés as possible: the […]

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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.