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Cohen and Tate

By Adam Lippe

The career of writer/director Eric Red fascinates for a number of reasons. But mostly because he melds the mystical and vague with utter incompetence. Red got his big break with his screenplay for The Hitcher, a combination of ridiculous 1980’s action, mysterious psychopath slasher film, open road spareness, and narrative incoherence mistaken for open-endedness, all […]

Troll 2

By Adam Lippe

Here’s the idea behind “An American, a Canadian, and an Elitist”: Rhett’s favorite movie is “Meatballs 4”, Josh likes Hollywood pap, 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 analysis of them, and […]

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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.