And the author even aknowedges that Back to the Future explodes the conservative myth that the 50s were some moral utopia. Yet he seems to call it nostalgia just the same. Whatever. He applies labels to the films that the films don’t deserve. Yes, Back To the Future had Libya as a bad guy, unfortunately Doc was in with them. And that pales in comparison to the main villian, Biff, a popular, all american man about town. And he doesn’t appear to talk about The Color Purple at all (#4, Box office) But lavishes some time On Pale Rider (#18) I like Clint Eastwood a lot, (Even his malignantly narcissistic, anti-conservative Million Dollar Baby) but that don’t change where it landed on the box office.

When comparing the Box offices of 1985, and 2005, the obvious thing you must conclude is that in 1985 people were willing to watch derivative crap (poor sequels for both Rocky and Rambo? That is a bad year) and in 2005 they were not so willing to throw their money away.

Considering that it was the most successful documentary ever produced, regardless of it’s content, and that “The Passion of the Christ” was also a blockbuster at the time, one can only say that there is no accounting for taste. I’m perfectly happy having seen niether.

If Hollywood is looking for films of integrity and merit and Fahrenheit 9/11 falls into that category, I think they can expect their slump to continue.

While Star Wars was a blast, the rest of Hollywood was delivering a dark miasma of products. “Report to the Commissioner”, Soylent Green, “Hardcore” etc., come to mind. Anti-Heroes were all the rage.

But, seriously, I have so much going on with work, family, web, and church that I really can’t get into any more TV. I check homework during Lost and Prison Break but I have a strict “I don’t take calls during Battlestar Galactica” rule.

That’s a mistake — get TiVo, and watch several episodes at a time, in place of a “movie night” that you’d spend watching the least bad of your options.

If you look at the movies that have come out this summer, they’re comprised almost solely of remakes, sequels, or bastardizations of television shows of years gone by. To be blunt, this whole summer movie season has been a vast vortex of suckitude of a scale never before imagined.

Great link, thanks. Not something I usually think about, but it’s definitely true that Hollywood movies of the late ’80′s seriously helped us to win the war of ideas as the Soviet Union collapsed. And we could really use their help winning the war of ideas we’re in the middle of right now. I’ve been counting them AWOL, but your friend gives me hope.

Read the linked piece more closely: “When the Slump of ’85 began, the Top 10 films included Police Academy 2, Friday the 13th Part V, Porky’s Revenge, and The Care Bears Movie.”

Lots of “sequels” — another version of the “remake”. What’s going on is that Hollywood’s “new” ideas aren’t selling, so they are trying to squeeze more life out of the same old ideas that made them money before. Same pattern.

The isolated break-out hits (*sigh* yes, The Passion) are from far to the right of Hollywood’s usual.

Hollywood’s about to get (or in the process of getting) another lesson (via studio heads) that the market matters, and that they need to make films that people want to watch.

Hmmm, that means, according to NARAL, HRC, NGLTF, PFAW, and the other groups… only 22 liberal senators are part of the mainstream, and the other 78 are dangerous extremists.

#3: Chandler, if you want to talk about “taking a risk”, look at Mel Gibson’s risk that paid off HUGE, and might just prove Dan’s point.

#8: V, that commercial is even better if you watch it backwards: She takes his clothes off!

#9: Mr. M., there are obviously anti-American movies out there like Michael Moore’s stuff, but what I personally don’t like is that it’s hard to go to a movie today without the requisite swipe somewhere during the course. There’s not necessarily an entirely anti-American bent throughout the whole film, but there’s always that one scene where some snarky jackass has to say something. Do I take it overly personal? Probably. But is it gratuituos and not needed in the telling of the story, therefore put there simply to make Left-America’s point that we’re bad? Most assuredly.

#10: Let’s not forget what they did to Sum of All Fears.

Also, Hollywood directors and producers don’t have a clue about real world economics. Movies routinely portray people with decidedly middle and lower-class occupations living in huge, designer houses and driving brand new Volvos and Lexuses.

Not to mention that in movies, people who work for corporations are always evil, middle-aged white men, and trial lawyers, idealisitic social workers, GOOD cops, and liberal politicians tend to be hot babes with big tits.

Also, all movie strippers are single moms with adorable precocious children at home.

But what do I know.

Hey, Dhimmiwood was so very silent when own of their own, director Van Gogh, was murdered openly on the public streets for having made a short film about Islam. George Clooney’s silence said it all!

Besides the rampant nepotism which forms the Dhimmiwood empire is as corrupt as the NY Times Salzberg empire.

In order for Dhimmiwood to bring itself back to a Hollywood without the anit-American Left, the only event at this point in the game is complete bankruptcy. Perhaps then those who work in the film industry will actually have jobs to return too since most of everything these days is filmed in areas outside the US in order to avoid taxation and paying union wages.

Dhimmiwood, the biggest outsourced industry in America creating crap designed to bring America to her knees. I left the industry because I could not support such duplicitious manipulation of people’s emotions.