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The 5 minute feature film, volume 1: Trespass

By Adam Lippe

As a companion piece to my analysis of Nicolas Cage’s current career, below is a visual summation of his 2011 movie Trespass, co-starring Nicole Kidman and Cam Gigandet. I’ve edited the entire thing down to just under 5 minutes, briefly glossing over important plot points (without major spoilers), yet you’ll still get the sense of […]

The Social Network

By Adam Lippe

Do casting directors have a better sense of irony than previously thought? Obviously, that’s a nugget that hovers over all of us daily, overtaking our will until we can think of nothing else, but how else to explain the casting of Justin Timberlake as Napster co-founder Sean Parker in David Fincher’s The Social Network? Napster’s […]

Lookin’ to Get Out vs. Lookin’ to Get Out: Revisionist History Vol. 1

By Adam Lippe

David Fincher’s Alien 3 is the best example of a very flawed film that was improved in a longer version, while still retaining all of those very same flaws. The theatrical cut, running just under two hours, has very little character development. And, therefore, apart from Sigourney Weaver’s character, Ripley, doesn’t make you care about […]

Does your opinion matter? And since it doesn’t, will you like Hancock?

By Adam Lippe

As I’ve suggested in many of my reviews, Hollywood believes that the most important result from a film is a product – not necessarily entertainment, let alone art. Demonstrating this concept, a couple of recent films that were stripped down and spare to the point of absurdity, sometimes to their benefit, were The Incredible Hulk […]

Bad Boys II

By Adam Lippe

Bad Boys II is bad for all the expected reasons, terrible script (from Ron Shelton (?!), didn’t he make Bull Durham and Tin Cup?), wanton, pointless violence and a disregard for human life proudly unsurpassed (it is easy to criticize the scene where cadavers are being dropped on the highway but why they stole from […]

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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.