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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. […]

Taken

By Adam Lippe

Since Luc Besson stopped directing, he has become more than a veritable production factory. He has established his array of mediocre and indistinguishable French directors as minions to his every whim of entirely disposable and forgettable action nonsense. Their formulas are simple; minimal dialogue that can be easily uttered by the multinational cast in English. […]

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 […]

Ugliness at and beneath the surface

By Adam Lippe

What Happens In Vegas… Roger Ebert, writing about Dice Rules, an Andrew “Dice” Clay concert film said that “it could not be more damaging to the career of Andrew “Dice” Clay if it had been made as a documentary by someone who hated him.” Well What Happens In Vegas is the equivalent, except this time […]

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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.