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A Bittersweet Life

By Adam Lippe

Back in the mid-1990s, when gay cinema was just coming out of the closet and into the mainstream, there was a charming, formulaic lesbian comedy called The Incredibly True Adventures of 2 Girls in Love. There’s nothing particular special about the film and I can’t face watching it again, since there’s no doubt, with its […]

Super 8

By Adam Lippe

When the great fake critic Joe Bob Briggs was hosting Monstervision on TNT back in the mid-1990s, he was often forced to show films that he didn’t appreciate. This didn’t happen when he was on premium channels like The Movie Channel, proudly examining low budget schlock behind his stereotypical redneck character, where the exposure was […]

The Unreliable Narrator

By Adam Lippe

My Best Fiend, director Werner Herzog’s documentary about his turbulent relationship with Klaus Kinski and the five films they made together, got me to thinking about what Kinski, dead long before the movie was made, would have had to say on the matter. Herzog got to make the movie his way, creating whatever message he […]

The Italian Job (2003)

By Adam Lippe

When the movie was being released, I heard the story that Ed Norton was forced to do the movie, because he was under contract with Paramount and kept turning down script after script, and this was the last option he was given. And yet, Marky Mark claimed this was the best movie he’d ever been […]

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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.