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Vigil

By Adam Lippe

If Vincent Ward had been allowed to make his version of Alien 3, that film might have been thought of in a positive manner, as opposed to just, “the first of many forgettable follow-ups to Alien and Aliens.” Ward’s conception* was that there was a monastery where all the monks acted as though they were […]

Moon

By Adam Lippe

A sterile home is just plain creepy. It suggests something unlived in, frozen in time, free from human connection. David Cronenberg (Dead Ringers, The Fly, Scanners) knows this, which is why he’s always setting sections of his movies in hospitals, the most antiseptic place possible. The body that had previously inhabited the room is gone. […]

Lookin’ to Get Out vs. Lookin’ to Get Out: Revisionist History Vol. 1

By Adam Lippe

David Fincher’s Alien 3 is the best example of a very flawed film that was improved in a longer version, while still retaining all of those very same flaws. The theatrical cut, running just under two hours, has very little character development. And, therefore, apart from Sigourney Weaver’s character, Ripley, doesn’t make you care about […]

A Night of Too Many Nerds

By Adam Lippe

“No person is too ugly to have sex with… The next time you see an ugly person, I want you to put your hand on their shoulder and say, ‘Dammit, let’s have sex.’” – Eddie Murphy on Saturday Night Live A smart lady once wrote, “Nerds are just cool people with bad PR.” Being a […]

The Village

By Adam Lippe

You know, it’s clunky, the idea is kind of predictable, but I was spooked at times, and I always find M. Night’s films to be clever, if not always the day after viewing them. I’m glad what seemed to be the surprise was revealed at the beginning of act III, not the end. The concept […]

The Happening

By Adam Lippe

Those who complain about being tired of M. Night Shyamalan’s bag of tricks, twist endings, Spielbergian style and music, contrived plotting, and naïve characters who speak simplistic, dopey dialogue as they bask in the awe, amazement, and discovery of whatever horrible/amazing thing is happening to them, miss the point that most filmmakers don’t ever come […]

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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.