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$10,000 Blood Money

By Adam Lippe

The Italian film industry sure loves their rip-offs. In the late 1960s, they made dozens of imitations of Sergio Leone’s Dollars Trilogy of Spaghetti Westerns (A Fistful of Dollars, For a Few Dollars More, The Good, The Bad, and The Ugly). In the mid 1970s, they made countless crime films, primarily inspired by The French […]

Once Upon a Time in Mexico

By Adam Lippe

“That, my friend, is cowardice. It’s so yellow. It’s not even yellow, it’s beyond yellow. It’s canary yellow… Rodeo clowns, on the other hand, those are real men. I had a buddy from Austin, he was a rodeo clown. He had one arm. We used to call him, uh… One arm.” – Johnny Depp, at […]

Kill Bill vol. 1 and 2

By Adam Lippe

Kill Bill is like Cinematic Doo Doo. And I don’t mean that in necessarily a negative way. Writer/Director Quentin Tarantino is taking all of the movies he digested as a teenager and shitting them all over the audience. Whether you choose to be a coprophiliac is up to you. Sometimes I was hungry, other times […]

Mystic River

By Adam Lippe

From the television ads, Mystic River looked like your typical middlebrow Oscar movie, on a generic B movie subject but told in hushed tones with A list actors, which apparently covers up the generica (see In the Bedroom). I had just seen Sleepers the week before, another star studded, contrived, overrated, awards conscious drama about […]

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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.