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Funny People

By Adam Lippe

Last year’s biggest hit, The Dark Knight, proved a lot of things—about the strength of the franchise, about the positive financial advantages a movie has with a deceased star being the lead* (see: The Crow), and that you can change actors from film to film, such as with the part of Rachel Dawes, played by […]

I Really Wanted to Get Smart

By Adam Lippe

Wanton violence and nihilism is not always a bad thing. As with anything, it is entirely about tone. Having just finished watching The Texas Chainsaw Massacre: The Beginning, in all its studio-polished, R-rated glory – where the question of character deaths was not an “if” proposition, but rather a “when” – it became clear what […]

Anchorman: The Legend of Ron Burgundy

By Adam Lippe

If there’s one thing we can count on from Will Ferrell, it’s completely committing to a role. Anchorman is really funny when it is only concerned with its own silliness, but like most comedies, once the plot or story arc kicks in, the laughs dissipate, even if the tone doesn’t particularly change. This usually arrives […]

Bruce Almighty

By Adam Lippe

It’s a good thing there’s no God, because if this is his way of speaking to us, the one thing you might cull from this 100 minutes, he’s a really lousy screenwriter. There are so many things wrong with this movie, that it’s easier to remember the good things, Steve Carrell from The Daily Show […]

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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.