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Case 39

By Adam Lippe

In baseball terminology, the shift refers to when a left-handed power hitter who tends to pull the ball (in other words, hits the ball to right field, the shift is almost never used against right-handed batters) comes to the plate (such as Ryan Howard, David Ortiz, Adam Dunn, Barry Bonds, Jason Giambi, etc.) the infielders […]

Do You Have Any Change For the Trending Machine? Part I: The Living Wake

By Adam Lippe

There’s a reason the public, and especially those within the industry, consider Hollywood executives as the unofficial whipping boys for the evil studio system. It doesn’t only have to do with their need to justify their jobs by offering up extraneous and contradictory notes and suggestions for filmmakers to improve their products. It isn’t just […]

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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.