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Submarine

By Adam Lippe

Did you know that kids, especially teenagers, use profanity on a fairly regular basis? One wouldn’t know that by watching films aimed at that demographic, considering the limitations of the PG-13 rating (where you can only say the F word once). The most accurate presentations of high school tend to be films that garner an […]

Youth in Revolt

By Adam Lippe

Exploring the sexuality of teenagers is, for some fuzzy moralistic reason, a faux pas. We can acknowledge as a society that young boys and girls have sexual thoughts, and once they pass puberty, those thoughts dominate their lives, even if they don’t know how to deal with them. Teenage sexual desire is a universal feeling, […]

A Podcast with Michael Cera and Portia Doubleday

By Adam Lippe

Here’s an audio interview conducted in a room full of reporters with Youth In Revolt stars Michael Cera and Portia Doubleday. While all 15 of us got to ask 2 questions each*, there were a plethora of tangents that had nothing to do with the movie (yes, Cera would be interested in an Arrested Development […]

The Invention of Lying

By Adam Lippe

In a recent interview on Conan O’Brien’s late night show, Michael Moore told a story about the difficulty in making a movie about the evils of capitalism (his new film, Capitalism: A Love Story, you can read my review here, a longer version will appear soon) for a studio*, a business that thrives on capitalism. […]

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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.