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Inglourious Basterds Podcast, with special guest Benji

By Adam Lippe

Below you’ll find a podcast about Quentin Tarantino’s  Inglourious Basterds, which I conducted with the famed star of 30 years worth of films, Benji. You can read a review of the film here. Click the play icon to listen to the podcast. Or you can download the podcast here. (Right-click, Save Link As…)

Inglourious Basterds

By Adam Lippe

The male psyche is such a fragile animal that virtually any questioning of it will result in either an abundance of defensive mechanisms kicking in or a complete melt-down. This is why men need to be right about everything and asking for help on any matter is considered a mortal sin of the ego. That’s […]

Desperate Hours (1990)

By Adam Lippe

Michael Cimino’s Desperate Hours is the kind of utterly pointless remake that turns into a scientific experiment for the viewer. It brings to mind Gus Van Sant’s remake of Alfred Hitchcock’s Psycho.

Tropic Thunder

By Adam Lippe

The big budget Hollywood satire is more than just an oxymoron, it is simply bewildering. How could a $90 million movie, distributed by Dreamworks, a company co-founded by Steven Spielberg, and owned by Viacom, be hard on “the business?” The answer is, it can’t, and therefore Tropic Thunder is a very broad and obvious satire, […]

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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.