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Physical Evidence

By Adam Lippe

On the recently deceased website JumptheShark.com,* it was decided that adding Ted McGinley to a TV show was the death knell, the very moment that the show would take a downturn, never to recover.(examples include Happy Days, Dynasty, and The Love Boat). In the case of the routine Burt Reynolds vehicle, Physical Evidence, he is […]

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 […]

Outlander

By Adam Lippe

A promisingly silly premise, alien spaceship crashes into the water during the time of Vikings and the survivor tries to win the hearts of the humans who don’t understand him (A more appropriate title might have been Army of Dorkness), is buried in the ground immediately by a concession to the English speaking market. As soon as he lands, removes his protective […]

Vicky Christina Barcelona

By Adam Lippe

B-movie legend Bruce Campbell said in his autobiography If Chins Could Kill, that he was more than happy to take a role in the expensive, dreadful, Michael Crichton adaptation Congo, because it meant he’d get a free [and well paid] trip to Africa. Watching Woody Allen’s new film Vicky Christina Barcelona, one might easily assume […]

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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.