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Local Anesthetic: Film Festivals Part IV

By Adam Lippe

“We want to show movies that won’t be seen at the local mallplex,” drunkenly exclaimed Harlan Jacobson, the artistic director of the 18 ½ Philadelphia Film Festival and a film community legend. It was awkward enough being a film critic at an invite-only party taking place at an upscale club. No matter how you try […]

Mediocrity Breeds Contempt: Film Festivals Part II

By Adam Lippe

As mentioned in part I of this series (which you can read here), there’s an eagerness for an audience to fall in love with some hidden gem at a film festival, especially a smaller one. This was hammered home with The Answer Man (also known as Arlen Faber), which got a featured spot in the […]

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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.