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Quantum of Solace

By Adam Lippe

One of the most amusing things about the influx of Bourne-style action movies is that it puts the filmmakers in a peculiar bind. The Bourne films take themselves very seriously, but amidst their constant globetrotting (I’d imagine Jason Bourne manages to fill up even his fake passports with travel stamps), they tend to stay in […]

Me and Him

By Adam Lippe

True film connoisseurs are eminently familiar with the later works of director Bob Clark, when he took a right turn from his popular early horror and exploitation titles like Black Christmas and Porky’s and chose to follow in the footsteps of his classic A Christmas Story by exclusively exploring the younger market. His most notable […]

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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.