MovieChat Forums > How Do You Know (2010) Discussion > The 'Rich White People and their Problem...

The 'Rich White People and their Problems' movie for this year


Amirite?

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Well Nancy Meyers can't make a film every year.

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Traditionally, in times of severe economic strife people for some reason are drawn to comedies about the flaws of the rich, especially the super rich. During the Great Depression these films pretty much ruled the box office and created a whole new genre called "Screwball Comedies."

Seeing as though things are about as bad as they have been since the Great Depression, it seems like a perfect time for a renaissance of such films. As far as the characters being white well, I think that's more your personal hang up.

This is a film written by (IMHO) a comedy writing genius, James L. Brooks. His films tend to be a bit more subtle in their comedy and dramatic content than studios think "urban audiences" will respond to. That's the execs' hang up.

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OP,
Who is super rich or even rich? Paul Rudd and Reese are playing almost broke people (I'm not saying they are living on food vouchers though!). Owen is a rich baseball player but he plays a rich d0uche. Jack has a company; alright; but super rich, like himself in real life? No.

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I could'a been a contender

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You've been trolled, dude, no point in asking for clarification.

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I assume it does because if you really meant geography and not ethnicity then you wouldn't be using quotation marks.

For example, nobody would ever write: Action movies make most of their money "overseas."

They would write: Action movies make most of their money overseas.

Quotation marks are only used when you mean something else. Therefore, if you really meant Blacks or Blacks and Latinos then why not just say Blacks and Latinos?

After all, you aren't disparaging an ethnic group by saying that, just stating an empirical FACT. And who would that be offending -- and why?

It would be like me saying, "98 percent of American Jews are white" or "Most NBA players are black." Both remarks happen to be true, statistically, and therefore no euphemisms are required.








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I used the quotation marks because the term "urban audiences" is a specific phrase used in business when discussing a specific target market. It is often used as code or a euphemism for people of color. This is often so white people can feel free to make generalizations without actually saying "blacks and latinos." It's cowardly and often under-the-table racist terminology when used that way.

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I agree that it comes off as cowardly when used that way. PC terminology is having a terrible effect on human discourse.

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The movie is trying to capitalize on people's misery these days during the hard economic times.
That is why the protagonists namely: George is unemployed,broke and facing legal investigation; and Lisa has just been cut from the team and having a bad relationship with a narcissist ladies' man.
James L. Brooks wanted the viewers to feel for the characters.

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The studios are right about the "urban" audiences. Look at all the reviews here and the bad box office. I very much enjoyed it however. And your description of Brooks subtlety is right on.

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Yes, during the Great Depression audiences flocked to screwball comedies about wealthy people, the difference is those films were and still are funny.

This one wasn't.

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Well Nancy Meyers can't make a film every year.


...wins for funniest reply to this thread.

And as for the original post, do you really expect them to make a movie about rich people having problems where the characters are anything other than white?

But I think there's a good parody here. Funny or Die should film a "Rich White People and Their Problems" movie skit. It'd probably make more money than How Do You Know.

"Who cares? He's a cheeseburger." -- Stewie Griffin

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are we talking about the same nancy meyers who penned Jumpin' Jack Flash?-- i'm not the biggest fan of her work overall, in fact i don't think i've seen well over half of what she's done, but based on that as a random sample, the fact that i have seen JJF and that it is obviously not a whitpeoplesproblems movie makes me wonder why this is a conversation that ever takes place.

OP: amirite?
me: yes, Sinbad; in other news: wimmen be shoppin'.

stupid critiques of reasonably better-than-average movies just don't hold up to scrutiny, logic, or the presence of facts.

you can do better, internet. make it happen.

"Ugh! I don't like this." --Ambrose Bierce

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are we talking about the same nancy meyers who penned Jumpin' Jack Flash?


Did you just reach back to a film that's 26 years old? That she co-wrote? And is credited along with 3 other writers? Versus the last 3 films she wrote and directed all by herself?

Don't try to cash in love, that check will always bounce.

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1. yes. i used this handy database for movies i found on the internet.
2. no idea. sounds like you might have used the same database, though.
3. wow. you really have taken a keen interest in nancy meyers.
4. i wouldn't know; i just went down the list and found a movie of hers i had actually watched, you know, as noted in my post, and mentioned it as evidence of a random, albeit small, sample.

i'll give you props for hyperfocus on the thing that was not my point, but the general assumption made by the OP was obviously what i wrote about. the fact that whoopi goldberg is a black woman who did not play a rich person is mainly there for poetic irony to underscore the ridiculousness of the topic.

you can go back and work on your reading comprehension NOW.

"Ugh! I don't like this." --Ambrose Bierce

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Ugh. Dude. Seriously. Do some research and use some forethought.

Nancy Myers directed her first movie in 1998. That was 13 years after JJF came out, in which she was not only 1 of 4 writers but she also didn't use her real name (she's credited as "Patricia Irving" and her writing partner Charles Shyer didn't use his real name either).

When writers or directors use a different name on a project it usually means they are trying to distance themselves from said project. Writers actually get more money when their real names appear in the credits so that means Nancy Myers was willing to take LESS MONEY for having her name on JJF instead of using her real name. Plus, writers have NO SAY WHATSOVER on who is cast.

Take a look at Nancy's filmography. JJF is the only movie in which she used an alias on. Clearly she hit it big with What Women Want and was probably given more freedom to do what she wanted on her next projects, which brings us to the topic of this thread.

You bringing up JJF in relation to Nancy Myers would be like me bringing up Piranha 2: The Spawning in relation to James Cameron. When JC got into a position where he could make any movie he wanted he didn't make more movies like Piranha 2 is what I'm saying.

Don't try to cash in love, that check will always bounce.

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i'll say it one last time: "irony, " and "reading comprehension."

i am done with the matter.

"Ugh! I don't like this." --Ambrose Bierce

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I'm not so sure. I read a couple of the advanced reviews for this. They say that it's definitely not the best work from any of the folks involved, Brooks in particular. They liked Rudd in the film. He pretty much just does the likeable Paul Rudd thing. So, if that's all you want, it's okay.

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That was Sex in the City 2.

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totally agree with OP, who cares?

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First off, it's a romantic comedy. People generally show interest in them. Second, watch the box office returns for this picture and then ask "who cares?"
It's apparently not a very good film but I will bet you that it makes a profit.

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Well Nancy Meyers can't make a film every year.

Don't forget about James L Books' protégé Cameron Crowe. Do we really need any more overpriced, overlong, mediocre films about unlikable characters and their valueless lives?

Spanglish (2004)
Budget
$80,000,000
Gross
$42,044,321

Elizabethtown (2005)
Budget
$57,000,000
Gross
$26,838,389

Are you an aspiring movie investor? Looking to put money into overlong, over-sappy dramadies that end up costing twice as much as they need to? Talk to these guys! Give them a Malick-esque development period, and they guarantee a 50% return on your investment.

And seriously - 15$ Million for Reese? 10$ million for Owen. When was the last time a Witherspoon vehicle made money? About 10 years, methinks. And has Owen EVER headlined his own hit? It's like the studios are trying to lose money here.

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Pretty sure those grosses are domestic box office. You add foreign markets, cable tv rights, pay per view and of course, DVD and the films made plenty. Besides that, I actually really enjoyed both films. I found the characters likeable and the stories had a lot of heart.

I'm not really sure what you are basing your opinion on but it seems like you have our own issues. Sorry. And Wilson has been a co-headliner in several massive hits. His cache' has definitely seen better days but in the right project, he would still be a box office drawing name.

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International Gross', especially for lame movies which are reviewed/criticized ahead of time do not make so much, ie: Spanglish (2004) made only an additional $12,314,498, and as for cable, ppv and dvd, it's not as much as you would think, again, for a 'bad' show like this hunk of junk!

The problem with this movie is the script, and a portion of the cast are terrible (in general), and in their characters roles.

Brooks is DONE I blelieve, fyi.
Nicholson will do just about anything.
Wilson should have been dead two years ago, so he's useless.
Witherspoon can't play a young 20-something forever, and she also can't grow-up, cinematically speaking - but she must have a sly agentberg working his/her silver-tongue off for her, I can tell you that!
*Rudd is the only star/stand-out with a bright future in this Yugo of a release.




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Morning Glory also tanked, but that film only had a 40 million dollar production budget and what seemed like a modest M&A budget so that could get the "on TBS all the time for the next decade" play and recoup some cost, since the reviews for that were middling rather than dreadful. However, what could hold that back is the fact that McAdams is not really that popular. I thought MG was actually rather OK. But it won't do anything overseas, so they have to keep international M&A costs down. That film won't be a big write-off, but it will be a failure and probably will keep McAdams from getting the A-list roles.


HDYK seems much worse off. Three times the production budget of Morning Glory (120 million for a film like this? It better have the DeLorean appear out of nowhere for a random time-travel scene). Plus HDYK seems to have spent a good deal of cash on Marketing and Advertising too. It's gotten TERRIBLE reviews which will limit its appeal. And though I LOVE Reese I don't know how much, if any, international cache she has. It's on track to make about 75% of what Morning Glory did it's first weekend. This is a big failure for Brooks, but he's seventy so he can go into retirement. Wilson can go back to character work, and voiceover stuff. Jack is basically morphing into Marlon Brando territory now anyway. I feel terrible for Rudd who is enormously likable and really should have a breakout career.

Reese though, as a long-time fan of hers, worries me. She needs to recalibrate. Water for Elephants is a risk that I don't know will take off (an April release worries me). This Means War seems like bomb-city to me. Chris Pins is ok, but a McG directed comedy with reallly no other stars??? She hasn't had a live-action hit since WTL and that was a long time ago (and hasn't really aged well at all really, is it that good of a film to begin with?). Just Like Heaven bombed the same year too. Rendition disappeared and Four Christmases was legendarily awful. She seems rudderless to me and now would be a good time to go back to Freeway and Election territory.

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"but he's seventy so he can go into retirement."

I hope Brooks isn't put out to pasture. The man is a terrific writer (and yes, despite the reviews and box office, HOW DO YOU KNOW is exceedingly well written) and I'd hate to think he is ready to hang up his pen -- or have it hung up for him.

No one else writes funny, insightful "Thinking Out Loud" dialogue as well as he can.

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Not put out to pasture, but no need to tarnish his legacy either.
The rumor is that ever since he blew up with The Simpsons he hasn't been the same... though AGAIG was terrific and still holds up well. Creatively there is little driving him to stretch.

My ultimate point is Jim and Jack are basically in the twilight of their careers, so this does little to hurt them (plus they have SO much success in their careers to fall back on)

This hurts Rudd, who I like a lot, but I guess he's just not meant to be a leading man anyway... just doesn't have the chops for it. Wilson is done, his schtick is old. He's not bad, but he needs to go back to the Bottle Rocket stuff of back in the day. Character work

I really worry about Reese. I love her, but the numbers don't lie. Richard Corliss said that she's not a movie star. That might be a bit overheated, but she doesn't "tentpole" well on her own at all, or at least hasn't for a while. She hasn't opened a movie with her being the dominant lead since LB2 almost eight years ago. Walk the Line was really Phoenix's movie (and all that was good, bad, and ugly about that) and Johnny Cash's story, not Reese's and June Carter's. Four Christmases was yet another Vince Vaughn's exercise in playing the same role ad infinitum, which for some reason has unending appeal for the masses. She used to be so interesting and risk taking, but she has lost that.

She's like the Brett Favre of actresses now... they started around the same time, raised a lot of eyebrows, won awards, commanded big money, and now seem passe.

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-- boxoffice.com.

Fine, I'm sure you're right about Paul Rudd's shortcomings as a lead and Witherspoon's inability to open a "tentpole." I wasn't quibbling about that. I was simply speaking as a fan of bright comic dialogue (something all too rare in American movies nowadays) and as a fan of such, I love Jim Brooks.

And no, he will never need a benefit, and yes, his legacy is all but assured. I concede these points. I don't care. Brooks is the best there is at what he does (whether he ever decides to "stretch" is not the point) and I look forward to MORE quintessential Jim Brooks movies.

It's like Billy Wilder's famous remark about Ernst Lubitch. When a pall-bearer at the funeral for the great immigrant director said something like, "Well, that's it: No more Lubitch", Wilder supposedly said, "Worse: No more Lubitch MOVIES."

He was right.

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Yeah, I'm not black. I'm white. My wife and I make a decent salary, live in the liberal media capital of New York City, and have mostly white friends.

I'm just remarking on a trend I see every holiday season where one of these kind of movies pop up. Like the first guy to respond said, Nancy Meyers can't make a movie every year. Has anyone heard from Nora Ephron?

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And this is the umpteenth "Black Person Showing Blatant Racism" post on IMDb.

"What the world needs is more geniuses with humility, there are so few of us left."

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How do you know it is a black person that started this thread? You don't know sh!t, just jumping to ignorant conclusions. A lot of other people of color see that these movies are about rich white neurotics and their petty problems.

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This thread seems to be part of a new trend here at IMDB. Nearly all major films are deemed to be unacceptable by the race mongers due to lack of diversity. If there are minority characters, the complaint is usually their parts are too small or there characters are somehow unworthy of their race.

It is interesting that since Obama was elected racial tensions in the US are worse than they have been in decades. It is getting to the point where it is no longer worth engaging people on these issues. It is time to just give up and ignore the entire situation.

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it's boring white people & their problems.


We're not soldiers and he's not the enemy. He's a pizza man.

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why can't we all just get along?

"Ugh! I don't like this." --Ambrose Bierce

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