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Shrivel Me Timber; Erotic Thrillers Vol. 1: Traces of Red

By Adam Lippe

If the idea of seeing Jim Belushi as a sex symbol isn’t appealing to you, then I don’t know what to say. Clearly Traces of Red is too good for you. As I detailed in the [Motor]Cycles of the Film Industry article, Hollywood does things in cycles. When the 1980’s teen sexploitation market dried up […]

American Wedding

By Adam Lippe

American Wedding is kind of an anti-achievement because it seems to insist that it’s much dumber than it should be. Since these movies are just sitcoms with vulgarity, there is little to be distracted by. The first film was guilty of stopping the movie dead in order to set up the gross out jokes, which […]

Wrong Turn

By Adam Lippe

Routine slasher movie with a bunch pf parts taken from Deliverance, The Hills Have Eyes, and any other crazed hillbillies with puzzlingly extensive Stan Winston makeup on. Boring for the first 45 minutes, but then there’s an excellent scene that takes place in a tree, that more suspenseful than anything that follows it. It also […]

The Butterfly Effect

By Adam Lippe

Sometimes director’s cut DVDs are a waste of time and a simple marketing scheme. I watched the director’s cut of The Butterfly Effect and then watched the conclusion of the theatrical cut, and am mystified how anyone can even consider the latter’s ending to be valid. The director’s cut’s conclusion seems thematically correct, as it […]

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.