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Death Watch

By Adam Lippe

Just because you’re prescient, doesn’t make you smart. It might be an accident. Take Richard Brooks’ Wrong is Right, his penultimate film (and his second looniest, behind his final film Fever Pitch), made 5 years after his last studio film, 1977’s Looking for Mr. Goodbar. Now Wrong is Right appears to have guessed right in […]

A few thoughts on Jonathan Demme

By Adam Lippe

What Paul Thomas Anderson takes most from Jonathan Demme, is the fact that in most of his films, especially in Something Wild, he shows an interest in all the people, from the main characters, down to the smallest extra part. You watch Something Wild and you want to know more about ‘Sister’ Carol East as […]

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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.