Filmsuck USA edition by Eileen Jones Arts Photography eBooks
Download As PDF : Filmsuck USA edition by Eileen Jones Arts Photography eBooks 
For anyone wondering why both Hollywood and independent movies suck so badly lately, this collection of hilariously angry film reviews excoriates the recent film flameouts darkening our multiplexes. An extended introductory rant provides historical perspective on the long decline and fall of the American cinema.
Filmsuck USA edition by Eileen Jones Arts Photography eBooks
Eileen Jones is such a great writer, with such an easy comic touch, that it's easy to miss the profound film scholarship she brings to every one of these reviews. In fact, that may the only thing that keeps this book from being appreciated as it deserves to be. Some of her asides on the films she's reviewing are as brilliant as the best of Bugs Bunny's throwaway lines, and like those asides, they generally precede the utter annihilation of a deserving foe.Jones's take on US films, informed by decades of scholarship, contradicts the consensus on almost every issue. Genre, she argues, is, or was, the salvation of American film. The relegation of the movie to the lower orders kept American film lively and impressive while those arts identified as high-culture ossified. The studio system, she argues, forced writers and directors to be better than they'd have been on their own. As proof she offers a depressing look at the general rottenness of indie film: "Most independent films are terrible...and worse, derivatively terrible."
Even here, though, she has the wit and honesty to note the great exception: Lynch's Eraserhead. That's another wonderful feature of Jones's writing: she has the supreme confidence to include the exceptions, to give the truly great their due, and then turn as quickly as Ali and deck the pompous, slow-witted film bores, both high-art and low-, filmmakers and critics--from Tony Scott to Peter Greenaway, from Walter Kerr to the dozens of dimwitted critics who get her heroes, the Coen brothers, so consistently wrong.
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Filmsuck USA edition by Eileen Jones Arts Photography eBooks Reviews
Dope
Very smart. She gets at the feeling tone of movies, at the same time exposing the techniques filmakers use to create them.
And she takes no prisoners.
The title could and should be changed but the material contained inside is a brutally honest look at the state of Hollywood. Nothing wishy-washy about this book, author takes a stand and holds her ground.
Jones is one of a kind & so fun to read.
This book is informative and humorous, on every page. The author knows her stuff, and speaks her mind, about American film, what it could have become and what it is.
I have read many many movie reviewers, and Eileen Jones in this book emerges as one of the freshest, bluntest, consistently unexpected and insightful. She is also serious about movies, and really cares. So my question is How come she is not in Rotten Tomatoes, or anywhere else?
Jones's voice is cutting, yet insightful;brazen yet thoughtful. She writes with such an apparent love of cinema,and her utter disgust with modern American films becomes self evident by her passionate,yet snarky voice. A tremendous journey.
Eileen Jones is such a great writer, with such an easy comic touch, that it's easy to miss the profound film scholarship she brings to every one of these reviews. In fact, that may the only thing that keeps this book from being appreciated as it deserves to be. Some of her asides on the films she's reviewing are as brilliant as the best of Bugs Bunny's throwaway lines, and like those asides, they generally precede the utter annihilation of a deserving foe.
Jones's take on US films, informed by decades of scholarship, contradicts the consensus on almost every issue. Genre, she argues, is, or was, the salvation of American film. The relegation of the movie to the lower orders kept American film lively and impressive while those arts identified as high-culture ossified. The studio system, she argues, forced writers and directors to be better than they'd have been on their own. As proof she offers a depressing look at the general rottenness of indie film "Most independent films are terrible...and worse, derivatively terrible."
Even here, though, she has the wit and honesty to note the great exception Lynch's Eraserhead. That's another wonderful feature of Jones's writing she has the supreme confidence to include the exceptions, to give the truly great their due, and then turn as quickly as Ali and deck the pompous, slow-witted film bores, both high-art and low-, filmmakers and critics--from Tony Scott to Peter Greenaway, from Walter Kerr to the dozens of dimwitted critics who get her heroes, the Coen brothers, so consistently wrong.
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