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Sexploitation’s lasting effect: Part I

By Adam Lippe

While Fast Times at Ridgemont High used the teen sexploitation genre a merely a jumping off point for its surprisingly insightful and realistic portrayal of high school life, delving into more taboo issues than most films of that era, there were other, more simplistic examples of the genre, like Losin’ It or Porky’s. Not all […]

An Ode to Val Kilmer

By Adam Lippe

Watching the thoroughly mediocre Entourage is a depressing experience. But there are some occasions where one is rewarded for their patience. In this particular episode, the characters were looking for weed, which seems to have dried up because of a massive drought on the West Coast. The main character’s health nut vegan girlfriend knows a […]

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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.