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A radio interview with the person who wrote this sentence, on Gtown Radio: Part III

By Adam Lippe

Here is the third in a series of no doubt 4 million appearances (or maybe less) that I made on Ed Feldman’s Morning Feed. Originally the interview ran at an epic length, 3 and 1/2 hours. Now, after some judicious editing, it runs at a mini-epic length of 2 hours, but you’ll still get plenty […]

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 […]

Wisdom

By Adam Lippe

When Emilio Estevez turned 24 years old, directly after the success of St. Elmo’s Fire, The Breakfast Club, Repo Man, The Outsiders and writing the screenplay for the S.E. Hinton adaptation That Was Then… This Is Now, he convinced Fox to let him write, direct, and star in his own film, under the aegis of […]

Identity

By Adam Lippe

This is exactly the kind of psuedo-clever phoned-in-written-over-the-weekend script that reeks of Donald Kaufman (Adaptation). From the first 10 minutes on, where I swore the movie couldn’t have been this bad: Unless it was on purpose? It certainly couldn’t have been more hokey. Indian burial grounds? The number 6 that turns into a 9 when […]

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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.