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An Englishman in New York

By Adam Lippe

As a divisive figure in the then-burgeoning gay rights movement, writer-actor Quentin Crisp is worthy of being given a lengthy biopic, or at least one that gives equal time to arguing the ways he both helped and harmed the gay cause. An Englishman in New York, which covers Crisp’s life as a latter day theater […]

44 Inch Chest

By Adam Lippe

Macho posturing doesn’t always have to be a cover for homoerotic tension. Sometimes, such as with a movie like Humpday, the homoerotic tension is created by the macho posturing. In that film, two friends drunkenly dare each other to make a gay porn together, and the next day, neither will back off for fear of […]

Dare

By Adam Lippe

A filmmaker given money to expand his own short film into a feature has quite a conundrum. Should he try to work with the same materials and simply stretch the concept thin? Should he add distracting subplots in order to pad the running time and simply leave the short as it is, footage intact, such […]

The Hangover

By Adam Lippe

There’s a famous scene in Doug Liman’s Swingers that is the key to understanding the entire career of The Hangover director Todd Phillips. As Jon Favreau and Vince Vaughn go on a midnight venture in Swingers, driving from Los Angeles to Las Vegas in an attempt to salve their wounds as failed actors and lotharios, […]

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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.