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A podcast with Joe Winston, the director of What’s the Matter With Kansas?

By Adam Lippe

Here’s an audio interview with Joe Winston who directed, along with his wife Laura Cohen, the documentary adaptation of Thomas Frank’s best-selling book, What’s the Matter With Kansas? Though you might think that this will be a discussion between two commie liberals bashing on heartland folk, that assumption would only be half right, because there’s […]

A very long interview with Outrage director Kirby Dick. It’s long. Take a lunch break so you can finish it.

By Adam Lippe

Along with allowing us to see his documentary Outrage, about outing closeted gay politicians who vote against their own interests (I’ve reviewed the movie here), director Kirby Dick was kind enough to go on a press tour. There were 4 reporters in the room, 3 if you don’t count me. Since I was not able […]

Reds

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 […]

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.