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Zombieland

By Adam Lippe

It’s been said that Russ Meyer primarily made silly exploitation movies filled with huge breasts, wild editing styles, and jokey narration because when he tried to make a real movie, such as The Seven Minutes, it would either be dull or devolve into camp, like his most famous films, Beyond the Valley of the Dolls, […]

Ken Park

By Adam Lippe

Ken Park tries so hard to shock that it ceases to be anything but strained and obvious. This isn’t a surprise coming from director/photographer/borderline pedophile Larry Clark, considering he made the quite similar Bully, which also featured hateful, inarticulate,  stupid teenagers engaging in self-destructive behavior, all of it leading to acts of horrifying violence. But […]

Palindromes

By Adam Lippe

Maybe it would have helped had I seen the movie with a suck up audience, the kind of Sundancy viewer that writer-director Todd Solondz pretends to mock but clearly desires their recognition. In fact all 8 of the people in attendance at the screening were silent the entire 100 minutes, except for myself, when the […]

The Gay Action Hero is Still in the Closet

By Adam Lippe

Since the invention of postmodernism, it has been quite easy to find homoerotic subtext in any film involving bonding between members of the same sex (Lord of the Rings), men who like to hold guns (any buddy-cop action movie from Lethal Weapon to Damon Wayans’ gun literally up Adam Sandler’s ass in Bulletproof) or women […]

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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.