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F For Fake

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 […]

Dirty Weekend (1993)

By Adam Lippe

When you’ve made silly movies all your life and you suddenly want to be taken seriously, where do you go? Director Russ Meyer (Faster, Pussycat! Kill! Kill!, Vixen!, Cherry, Harry, and Raquel) made quickly edited, campy movies filled with irony, with the stories often about women with large breasts using their sexuality to the best […]

Unstoppable

By Adam Lippe

If you tend to dislike a filmmaker’s work, if he puts less effort into doing those things that annoy you, either because he can’t afford to or is unable to, does that mean you’ve learned to enjoy his films, or just that you’ve convinced yourself that he’s suddenly tolerable? With Tony Scott, who made Top […]

BearCity

By Adam Lippe

As gay films hit the mainstream in the early 90s, a valid topic for a movie was a 90-minute “coming out” story that always included acceptance from peers and parents by the conclusion of the film. Getting past these hurdles is important for any minority group. But once the shock of the group’s existence is […]

The Invention of Lying

By Adam Lippe

In a recent interview on Conan O’Brien’s late night show, Michael Moore told a story about the difficulty in making a movie about the evils of capitalism (his new film, Capitalism: A Love Story, you can read my review here, a longer version will appear soon) for a studio*, a business that thrives on capitalism. […]

One-Eyed Jacks

By Adam Lippe

Here’s the idea behind “A Canadian, an American, and an Elitist”: Rhett’s favorite movie is Meatballs 4, Shawn has an unhealthy fixation on Resident Evil, and Adam is a prick who hates everything. We all watch far too many movies, and spend our time analyzing them. So we each watch the same movie, write 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.