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The Day of the Beast

By Adam Lippe

If filmmaking is an act of myth-making, than what is a filmmaker who spends his time busting up long held myths? He’s not Penn and Teller, who specialize in creating magic and then explaining to you what a dope you are for falling for it. He’s not a meta-filmmaker who likes to break the fourth […]

Skeleton Crew

By Adam Lippe

The easiest way for filmmakers to get themselves out of being painted into the corner is with a deus ex machina. Sometimes that deus ex machina is a lapse of logic, like Samuel L. Jackson driving on the highway and looking out his window at the exact moment Bruce Willis flies out of a water […]

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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.