Tag Archive

On art and commerce: An audio interview with Fissure director Russ Pond

By Adam Lippe

Below you’ll find an interview with the director of Fissure, Russ Pond (the review can be read here), that I conducted recently. The interview is about 17 minutes long and I’ve broken it up into three parts. The first two parts discuss the movie itself, so if you want to avoid spoilers, I’d be cautious […]

Fissure

By Adam Lippe

When a movie disorients you for 2/3 of its running time, making you feel like you can follow it, but never quite get a handle on it, without ever getting too confused, the eventual explanation is almost always going to be a let down. This is often a consequence of being ambitious, and carrying out […]

Humpday Review and Podcast

By Adam Lippe

Below you’ll find a review of Lynn Shelton’s Humpday, which accompanies the interview I conducted with her about the movie that you can read here. On top of that there’s a new feature on A Regrettable Moment of Sincerity, podcasts. In this particular podcast, I interview famed 13 year-old critic Jordan Walters regarding his thoughts […]

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 [...]

Recent Reviews


Veegie Awards
Winner: BEST ONLINE FILM CRITIC, 2010 National Veegie Awards (Vegan Themed Entertainment)

Nominee: BEST NEW PRODUCT, 2011 National Veegie Awards: The Vegan Condom

Recent Comments

Archive

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.