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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 […]

Dumb and Dumberer

By Adam Lippe

Now that I have just forsaken 82 minutes by a viewing of Dumb and Dumberer, I can say that not only was I wrong about sequels, I want them to make more. Please have movies that while they begin promisingly (in the first shot, the camera is moving out of Mimi Rogers’ vagina while she […]

A Trifecta of Rape and Revenge: I Spit on Your Grave/Last House on the Left/Thriller: A Cruel Picture

By Adam Lippe

I Spit on Your Grave My first viewing of I Spit on Your Grave was in high school. I felt it was a terrible movie that followed no logic and the endless rape scenes were effective only in that they didn’t shy away from brutality. However, the movie was very poorly made and written, and […]

Gigli

By Adam Lippe

Wouldn’t it be easy to call it the worst movie ever made? The bandwagon already has a seat saved just for me, and it comes with a complimentary bong hit of conformity and acceptance. Does Gigli have anything to recommend in it? Not really. It’s an utter miscalculation, and as the movie goes on, it […]

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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.