If there’s one thing you should know about Morgan Spurlock, it’s that he’s a remarkable showman. While his documentaries always contain some kind of academic value, his main intention seems to be entertaining the audience, and there’s absolutely nothing wrong with that. It’s what helped “Super Size Me” become such an immense success, and it played a big part in making “Where in the World is Osama Bin Laden?” – Spurlock’s much weightier follow-up – a lot more interesting than it would have been in the hands of another filmmaker. His latest project, “The Greatest Movie Ever Sold,” doesn’t pretend to be about anything nearly as important as the issues he’s tackled in the past (obesity and the war on terror), but it’s without a doubt his funniest and most creative documentary to date.
It’s no secret that product placement has become an integral part of the entertainment industry, with billions of dollars spent every year by corporations looking to inundate our movies and television shows with subliminal advertisements. In an attempt to learn more about the process of this rapidly growing business (and hopefully make people more aware of what they’re being exposed to), Spurlock has set out to make a documentary about branding, advertising and product placement that’s funded entirely by product placement. It’s an ingenious idea, as the film operates both as an eye-opening lesson in brand integration and a satirical, first-hand account of how movie studios obtain financing from corporations.
The first half of the documentary focuses on Spurlock’s attempt to pitch his idea to various Fortune 500 companies, with many refusing to even take a meeting with the infamous director at the risk of looking like a fool. After Ban Deodorant comes on board as the first official sponsor, however, Spurlock has more luck persuading corporate executives to invest in the movie – including companies like Jet Blue, Mini Cooper and Old Navy – with POM Wonderful agreeing to pay $1 million to buy the above title rights.
But what Spurlock soon discovers is that there are consequences that come with accepting that money, with some companies demanding creative control over the final cut of the movie or setting certain stipulations that he’s legally obligated to follow. Like, for instance, the idea that once POM Wonderful becomes the official drink of “The Greatest Movie Ever Sold,” he can no longer be filmed drinking anything made by their competitors. Obviously, Spurlock plays this for big laughs as he blurs out entire walls of Coca-Cola and Pepsi while shopping at the grocery store, and makes a point of zooming in on bottles of POM during interviews, but he also posits a good question about how much corporate interference is too much before you’re considered a sellout.
While guys like Ralph Nader and Noam Chomsky offer their opinions on the matter, Spurlock also speaks with those who have a little more experience dealing with brand integration in movies, including Quentin Tarantino, J.J. Abrams, and Brett Ratner, who not only admits that product placement is necessary, but when asked how it affects his artistic integrity bluntly replies, “Artistic integrity? Whatever.” You have to give Ratner credit for being honest, but Spurlock knows a great moment when he sees one, and his film is littered with other nuggets of comedic gold just like it – even manufactured ones, like a running joke involving Mane ‘n Hair shampoo with an awesome payoff in the end.
That may disappoint some people who feel like Spurlock’s shenanigans only dampen the impact of his message, but many moviegoers wouldn’t even be willing to sit through a documentary about product placement if it wasn’t so entertaining. The film will still teach you a thing or two along the way, but if you’re going to learn, you might as well as enjoy yourself while you do, because although it may not have the same cultural effect as “Super Size Me,” “The Greatest Movie Ever Sold” is Spurlock at the top of his game.
It’s still the dead of Winter, but Summer (or the movie version of it, which actually stars in late Spring) is getting closer every day. “X-Men: First Class” is of special interest to me as it marks the return of director Matthew Vaughn to the franchise. (Vaughn famously dropped out the third X-Men installment shortly before production and was replaced by nobody’s favorite, Brett Ratner.)
Ironically, I’m not the biggest fan of any of the “X-Men” movies I’ve seen so far. However, Vaughn and his writing collaborator, Jane Goldman, most recently of “Kick-Ass,” have batted 1000 a with me as they careen from genre to genre and fail to rake in the big money I think they richly deserve. Let’s just hope this isn’t only a movie for critics and hardcore genre geeks. As you probably already know, James McAvoy is a much hairier and more ambulatory Dr. Charles Xavier and Michael Fassbender is a much younger Magneto.
H/t Deadline. I’m definitely digging the retro vibe here.
Since this movie is one that people who’ve seen seem to not want to talk about, because of all of its apparently very surprising twists and turns, I’m at a bit of a loss at just what “Catfish” is. I gather that it’s a legitimate documentary and not a mock-doc (I guess). And that what starts out like a fairly lighthearted film about the director’s brother corresponding with an eight year-old painter, and developing an online flirtation with her grown-up older sister, turns into something darker — just what that is or how much darker, I have no clue.
I also know that this one really blew peoples’ minds at Sundance and that trying to preserve that special fun of festival screenings when you can see a movie knowing next to nothing about it is a fool’s gig. I also understand that, as per Jay Fernandez, this trailer may be a bit misleading and that Katey Rich of Cinemablend suggests not watching it all, just seeing the movie, which she loves.
Well, here it is anyway. I’ve watched it. Maybe I’ll forget most of it by the time I’ve actually seen it.
By the way, this movie was picked up by Brett Ratner working with Relativity Media’s Rogue Pictures. I’m getting the idea that it might be the only outstanding movie he’s touched so far.
I’m getting a very, very late start tonight/this morning so let’s see how efficient and brief I can be. Also, we’ll see how many utterly huge stories I’ll miss.
* I suppose the big news today is that it really appears as if there’s already an Edward Norton replacement after his departure as the Hulk from “The Avengers” was egregiously mishandled by Marvel’s Kevin Feige. The choice appears to not be Joaquin Phoenix but the first-rate, not nearly famous enough Mark Ruffalo. He is the deceptively low-key actor I’ve been rooting for since catching him in “You Can Count On Me” back in 2000. (It was my favorite movie of that year and also made me a life-long fan of Laura Linney.) Ruffalo is currently in the year’s probable indie-smash, “The Kids Are Alright.” As sussed out from various reports by Kevin Jagernauth of the Playlist, it appears he’s still in some pretty serious negotiations that are not yet really anything like a done deal. He’s a shrewd choice for Marvel and this would be a good way to salvage a thoroughly unfortunate situation.
* Joaquin Phoenix might not be the Hulk, but the probable mockumentary (or not) about him made by his brother-in-law, Casey Affleck, has been picked up by Magnolia. I’m not looking forward to the already infamous “Cleveland steamer” scene. Just FYI, much as I admire John Waters, “Pink Flamingos” is on my short “never see” list, but that infamous final scene is a lot worse, I suppose. I get ill just thinking about it.
* The fascinating outlandish career of arthouse poet turned stoner-action-comedy specialist David Gordon Green may take another fascinating turn if he really does remake Dario Argento’s “Suspiria” — which, I somehow managed to sit through some fifteen years or so back despite my squeamish/scaredy cat ways, because, among other reasons, it’s so freaking beautiful. Also, I’ve always had the hots for Jessica Harper.
* If you want to know who the best, most essential, and most thoughtfully cinephilish bloggers and blogs are, check out the terrific blogroll from the Film Society of Lincoln Center. Congrats to my old bloggy compadres Dennis Cozzalio, Kimberly Lindbergs, Farran Smith Nehme, and Greg Ferrera, among others, for making the prestigious list.
* Nathaniel Rogers didn’t get a mention, though he certainly deserves it. The openly actresexual blogger did, however, get a very nice interview with his idol, Julianne Moore, who I kind of idolize myself. More congratulations are in order.
* I suspect that those old Steve Reeves Hercules movies will wind up being a lot more watchable than whatever Brett Ratner makes of the mythical strongman. I’m sure he can’t top the Disney animated film, even if it wasn’t the greatest of the studio’s nineties animation output. Cue the “do you like to watch gladiator movies” jokes.
* Note to my friend, Zayne: Yeah, I missed this reconstruction of a lost ultra-obscure exploitation gangster film tonight about kidnapping the Pope (and asking for a $1.00 from every Catholic in the world — though these days I doubt they’d pony up). I’m therefore bummed.
* Alison Nastasi has an interesting response to a fairly thoughtful rant by Dustin Rowles on the controversy around the new cover art for the remake of another film on my probably never-see list, “I Spit On Your Grave.” The poster is obviously in horrible taste, but isn’t that kind of the point?
* Now that a fourth tape is out, I wonder if Mel Gibson will get the message and give up the drunk dialing.
* I’m confused. If the planned film with Jeremy Piven and Thomas Jane is in any way actually closely modeled on John Cassavettes’ “Husbands,'” as director Mark Pellington seems to say, then I don’t think it should be called a “thriller.”