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The JPFmovies staff and longtime contributor Tom V. discuss the current state of the American film industry.

The JPFmovies staff and longtime contributor Tom V. discuss the current state of the American film industry.

Hello again JPFmovie fans yeah, we know our staff needs to bring some more game to the table so here is a fresh start.  As anyone who has followed the JPFmovies posts over the years will tell you we have taken the position that Hollywood churns out nothing but crap.  However, after a recent discussion with long time contributor Tom V., we have refined our position, what follows is our discussion with Tom V:

JPFmovies:  It is nice to hear from you again.  During our last meeting about potential reviews you and the JPFmovies staff were considering when you brought up some excellent points.  You have a different take on why the state of the Hollywood film industry is what is it is today.

Tom V: Yes, I do on several fronts.  Look at the advertising/marketing budgets of films like “Fury” an excellent film in my opinion versus some Transformers movie for example.

JPFmovies:  Could you expand on that a little more.  I mean it sounds like you think that Hollywood has become nothing more than a giant spreadsheet and a bunch of focus groups.

Tom V: Yes, that is exactly it.  Hollywood no longer backing classics, they will reluctant will.  Movies like Mutiny on the Bounty, Casablanca, Good Fellas and Reservoir Dogs.  These films are either not made anymore or the studios simply don’t invest in these types of films the way they used.  They seem to have a sixth-grade focus mentality because that is what seems to sell because these films are costly babysitters.

JPFmovies: Well what has happened to the talent that made some of the best movies in history like Sir Ridley Scott’s original Blade Runner, Blackhawk Down or Kill Bill?

Tom V.: Over the past couple of years you’ve seen the talent move to Netflix, Amazon Prime and other independent film outlets.  What Hollywood has been regulated too are comedies with singing animals and politically correct films, action films more about the more expensive special effects scenes and other formula driven rubbish.

 JPFmovies: OK so you see all of the talent migrating (both actors and writers) to the new business models like Netflix and Amazon—do this that Hollywood with adjust to these changing times?

Tom V.: It will never happen Hollywood seems to be stuck in a holding pattern of mediocrity.

JPFmovies:  Ok why don’t proven directors like Scott, Tarantino or David Lynch get the resources they deserve?

Tom V.: Because it doesn’t sell as many tickets as a formulaic Transformers movie despite the obvious merit of films like of Blade Runner 2 because their focus groups projected lower profits.  That film for instance should have been made by Netflix or Amazon because it would have been funded and promoted much better.

JPFmovies: So, you believe that the free market has allowed companies like Netflix, Amazon, AMC and others to think outside of the box and make great entertainment for far less money.

Tom V.: Yeah sure.  Amazon and Netflix are on the cutting edge but don’t have the resources to go toe to toe with a company like Paramount—yet.  For instance, the Netflix series Marco Polo was an amazing series had to be canceled because of the $100,000,000.00 price tag for another season—which for a company like Netflix or Amazon which could have probably handled the costs, but they wisely spread those resources to other programs.

JPFmovies:  What are your favorite series to date from Amazon and Netflix?

Tom V.:  Marco Polo for sure from Netflix and Man in the High Castle from Amazon.  And even these films sucked, at least I would have avoided robots beat the crap out of each other yet again.

JPFmovies:  Do you have any predictions for the upcoming Raspberry Awards?

Tom V.: Too early to call.

JPFmovies:  What can we expect your next review to be?

Tom V.: I think it will be Brad Pit’s 2014 film Fury—which cost $68,000,000.00 and took in approximately $211,000,000.00, so these good movies can in fact be profitable. This film defied the odds of the Transformer garbage.

JPFmovies:  Any closing remarks you want to tell the audience.

Tom V.:  The only way you can change the mediocrity of Hollywood is with your pocketbook.

JPFmovies:  Thank you for your time. And we look forward to your next review.

 
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Posted by on March 31, 2019 in Movie Reviews

 

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We interrupt this Musashi series to bring you SS’s maiden review: Keeping up with the Joneses

The Joneses focuses on a foursome whose job is to pose as a family in wealthy suburbia in order to sell, to their neighbors, their picture-perfect luxury lifestyle and the accoutrements it requires. This phony stealth “marketing unit” is led by veteran mom Kate (Demi Moore) and includes rookie dad Steve (David Duchovny), slutty daughter Jenn (Amber Heard), and milquetoast son Mick (Ben Hollingsworth), all of them employed by KC (Lauren Hutton) to push high-end products to the various demographic groups in which they mingle.  They can’t tell anyone what they’re doing, of course. That would defeat the purpose. Instead, they must cultivate “friendships” with the people they’re subtly advertising to. They’re salespeople whose goal is to market themselves, and director Derrick Borte promotes this fantasy with enough electronics-and-dishware fetishism to slyly indict his audience’s own materialist hunger.

In their new ritzy enclave, the Joneses wow the locals and befriend a couple, Larry Symonds  (Gary Cole of Office Space) and Summer (Glenne Headly), who desperately need to keep up with their new neighbors and become integral components of their community.  Summer is a salesperson, too, the old-school kind who hosts parties to sell a line of beauty products. She’s not very good at it, but she’s so focused on it that she has no time for Larry, who adores her. Larry, following Steve’s lead — Steve and Kate seem so happy! — buys baubles for his wife.  But take a closer look at the situation and you’ll start to see something ominous lurking just beneath the surface. It’s only when the Joneses are confronted with the unexpected suicide of Larry that they finally discover who they really are beneath the glossy veneer of consumerism.

Yet lonely and unhappy in their downtime, the false family is so obviously and tamely positioned as embodiments of American consumerism-run-amok and the sham joy derived from purchased things that the film quickly telegraphs the sermon to come. Come it does, via the type of predictable tragedy one can see a country club away, though not before Steve subtly convinces men to buy fancy golf gear, Kate covertly hawks frozen dinners and beauty care products, Jenn and Mick advertise perfume and videogames to the local teens, and an equally foreseeable subplot plays out involving Steve’s desire for a real nuclear family and Kate’s developing feelings for her fake hubby.

As a modern satire of the nouveau riche, The Joneses offers a reflective look at the status seeking upper middle class: their shallow pursuit of the latest gadgets, designer clothes and other goods and shows that although on the surface they may seem successful, they are no better off than the middle or lower class. They are living hand to mouth on a different scale. The only difference is the number zero on the bills going out every month. They fall prey to the same flaws of vanity narcissism and they have the same insecurities about who they are in life, like their neighbor who had all the trappings of wealth on the surface but in the end the self-destruction drove him to suicide.  They are all trying to display their lack of real wealth but expensive cars and clothes.  When it comes down to it, your real wealth is not what is in your bank account. Feeling wealthy is the cause of your demise, because no matter what you buy, the bill is in the mail and at some point it will come home to roost.  Trying to keep up with the Joneses, you can charge $30,000 worth of clothes, but you will still never keep up with them.  It says something about society: we have these multinational companies telling us “we designed jeans which cost $200 per pair” even though a pair of Levis cost $50 and the $200 pair does not use four times as much denim. They create an illusion and when the consumer buys it becomes real. It is all about status — you can get as much status as your wallet can afford or at least fake it and hope you make it.

 
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Posted by on April 17, 2011 in Movie Reviews

 

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