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Farewell, My Lovely

By Adam Lippe

When you rely on the 20 year old cycle of nostalgia as your form of entertainment, you know that the material is going to date instantly. It’s one thing to be a sort of time capsule movie that reflects the period it was made in (like William Friedkin’s To Live and Die in LA), but […]

Christine

By Adam Lippe

Christine is like three different movies in one, and they never gel. One is a realistic high school movie about a nerd trying to get along in school and in his family. Then there are the scenes with the bully, William Ostrander/Buddy Repperton, which move into the camp arena, since his performance is so wonderfully […]

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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.