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How Do You Know

By Adam Lippe

A visual motif is supposed to be used to express a feeling that is never overtly expressed by the characters, revealing something about them that they’re unaware of or trying to hide. A perfect example is Tammy Metzler in the movie Election, and the use of garbage that she either hides behind or hangs out […]

Black Swan vs. Black Swan: Revisionist History Vol. 2, A Screener’s Revenge

By Adam Lippe

As a critic, my job is to be as objective as possible while acknowledging my own subjectivity. But what rarely comes into play, at least consciously, is whatever mood I might be in on the way into the theater. I saw Black Swan at the opening night of the Philadelphia Film Festival on October 14th. […]

Truth or Friction: Film Festivals Part V

By Adam Lippe

Few things will put you more in a position to question your level of maturity than covering a film festival. Shouldn’t I enjoy my medicine by burying myself in high minded dramas on important subject matter and dry documentaries that detail the struggles of a trendy third world country? What kind of an adult would […]

A Podcast Q+A with Kelly McGillis, much awkwardness and bizarre fawning to follow

By Adam Lippe

Here is a podcast q+a with Kelly McGillis (Witness, Top Gun), recorded during Philadelphia’s QFest (Queerfest), as Ms. McGillis was being given the artistic achievement award. Normally, this isn’t the sort of q+a I’d upload, but the whole thing was so strange, I figured I should share. To give some context, Ms. McGillis was considered […]

Uwe Boll’s Heart of America

By Adam Lippe

Here’s the idea behind “A Canadian, an American,  and an Elitist”: Rhett’s favorite movie is Meatballs 4,  Shawn has an unhealthy fixation on Resident Evil, and Adam is a prick who hates everything. We all watch far too many movies, and spend our time analyzing them. So we each watch the same movie, write our […]

Off and Running

By Adam Lippe

It’s strange when a Twitter phenomenon like Shit My Dad Says, which was started by a guy in his late 20s writing down the filthy and irreverent things his 74 year-old dad says, garners a sitcom, especially on a network. It’s stranger still that that network is CBS, known for the most banal and safe […]

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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.