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Eye of the Beholder (1999)

By Adam Lippe

Comedian David Cross does a bit on his It’s Not Funny album about how common it is to see a gay couple who look exactly like one another, “same balding pattern, bushy mustache, reverse pear-shaped body.” He goes into more detail exploring how that must be sort of like masturbation, where you can either take […]

L’Enfer

By Adam Lippe

L’Enfer threatens to have a more interesting backstory than the film itself. Originally written by director Henri-Georges Clouzot (Diabolique) in 1964, Clouzot made several attempts to make the film, but always had problems with the structure, and needlessly elaborate fantasy sequences. Thirty years later, Clouzot’s widow sold the script to a producer, who offered it […]

Transsiberian

By Adam Lippe

It is not always a mystery why some films manage to creatively avoid widespread distribution. Brad Anderson’s Transsiberian, a mix of travelogue, relationship drama, Runaway Train, and Renny Harlin’s hilariously anti-Russian Born American, doesn’t fit into a specific category. The movie is well made, has terrific, snowy photography, and its minimal ambitions are an asset. […]

The Tenant

By Adam Lippe

Here’s the idea behind “A Canadian, an American, a Lawyer, and an Elitist”: Rhett’s favorite movie is “Meatballs 4”, Shawn has an unhealthy fixation on Resident Evil, Richard scoffs at anything that isn’t pretentious and hoity toity, and Adam is a prick who hates everything. We all watch far too many movies, and spend our […]

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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.