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The Boondock Saints II: All Saints Day

By Adam Lippe

Is there any inherent pressure for a director when following up a failure, especially when you’ve made a sequel distributed by a studio that’s known for constantly releasing such fare? In the past few years, Sony has been putting out belated DTV sequels to the most random, unsuccessful movies in their back catalog; such as […]

A podcast with the creator and stars of The Boondock Saints II: All Saints Day, Troy Duffy, Sean Patrick Flannery, and Norman Reedus

By Adam Lippe

Here’s a nearly 30 minute interview I did with Troy Duffy, the director of The Boondock Saints and the upcoming The Boondock Saints II: All Saints Day (he was also the subject of the muckraking documentary Overnight). Also in attendance were Boondock stars Sean Patrick Flannery and Norman Reedus. Sean is very talkative, but Norman […]

Can You Get A Stuntman For My Dialogue Too?

By Adam Lippe

You would think that after Copland, Sylvester Stallone would have understood his new niche and retired his action hero poses to move on to different and more challenging projects. Even, Driven, which was based on his own screenplay (though he tends to have a writing hand in all films he stars in) acknowledges his age […]

Now on DVD and Blu-Ray

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.