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Predators

By Adam Lippe

After learning that I disliked his horror movie, a director at a film festival spent two days trying to confront me. I tried to be nice about it, complimenting the things I did enjoy such as the cinematography and how much he was able to get out of his obviously limited budget. He pestered me […]

On art and commerce: An audio interview with Fissure director Russ Pond

By Adam Lippe

Below you’ll find an interview with the director of Fissure, Russ Pond (the review can be read here), that I conducted recently. The interview is about 17 minutes long and I’ve broken it up into three parts. The first two parts discuss the movie itself, so if you want to avoid spoilers, I’d be cautious […]

Fissure

By Adam Lippe

When a movie disorients you for 2/3 of its running time, making you feel like you can follow it, but never quite get a handle on it, without ever getting too confused, the eventual explanation is almost always going to be a let down. This is often a consequence of being ambitious, and carrying out […]

Saw

By Adam Lippe

Lions Gate is choosing to release Saw with an R rating, though what they cut for it to initially receive an NC-17, I couldn’t tell you. It’s more gruesome in tone than anything else, in the same way that Seven doesn’t actually have much onscreen violence. But Saw is abysmal and gets worse the more […]

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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.