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Super 8

By Adam Lippe

When the great fake critic Joe Bob Briggs was hosting Monstervision on TNT back in the mid-1990s, he was often forced to show films that he didn’t appreciate. This didn’t happen when he was on premium channels like The Movie Channel, proudly examining low budget schlock behind his stereotypical redneck character, where the exposure was […]

A Podcast about Mike Judge’s Extract, with my special guest Soylent Green

By Adam Lippe

Below is a podcast I conducted with Soylent Green about his reaction to Mike Judge’s Extract. You can read my review of the film here. Click the play icon to listen to the podcast. Or you can download the podcast here. (Right-click, Save Link As…)

Extract

By Adam Lippe

In general, people are not all that ambitious. In general, life is filled with dull moments, surrounded by the occasional heart attack and/or sexual conquest. Dogs understand the comfort of this concept, which is why they seek constant routine in their lives and become uneasy if there’s even the slightest change in their daily habits. […]

Sexploitation’s lasting effect: Part I

By Adam Lippe

While Fast Times at Ridgemont High used the teen sexploitation genre a merely a jumping off point for its surprisingly insightful and realistic portrayal of high school life, delving into more taboo issues than most films of that era, there were other, more simplistic examples of the genre, like Losin’ It or Porky’s. Not all […]

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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.