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JPFmovies’ next foray into the Sci-Fi world: Star Trek Enterprise (2001-2005). Almost everyone complained about it but we didn’t think it was bad.

The creation of Netflix, probably the greatest innovation for movie and T.V. fans since the introduction of HBO and similar channels, has given people like us at JPFmovies the ability to “binge” watch movies/T.V. series.  Well, we went on an Enterprise “binge” in “the blind” so to speak—not having followed any of the trials, tribulations and fan/producer politics.  If you look through our reviews over the years you will find very few T.V. series, much less American produced television.  In other words, we were not influenced by all the political machinations surrounding the three previous Star Trek series beginning in the 1980s and running though the late 1990s or by the opinions of their fans and producers.  So when we went on our Enterprise “binge” it was really with a fresh eye.  And you know what?  We thought it was a decent show (except for the theme song).

That said, when we searched the Internet for information about Enterprise, almost all the content we saw was invariably negative.  Enterprise was blamed for the end of the Star Trek franchise that had been running since the 1980s.  Fans blamed the show’s lack of continuity and rather thin plot while producers Berman and Braga argued it was some sort of “franchise fatigue”—a position we here at JPFmovies find self-serving, trying to avoid taking responsibility for the show’s short run.

 

So when we watched the show with a fresh eye, JPFmovies thought the show didn’t deserve all the criticism it received and should have been given some more seasons to let the show get some more traction.  Those of us at JPFmovies thought that T’Pol (the ever present Vulcan) was an interesting change of pace from the traditional steely-eyed monotoned alien who spouted nothing but “logic.”  As a Vulcan, she walked the line between Vulcans repressing their emotions and having them.  Frankly I didn’t mind seeing some emotions underneath the typical Vulcan surface.  We also read a lot of complaints that the actress playing T’Pol could not act and was there only for her eye candy appeal.  To deny she was eye candy would be foolish, but she also did a good job playing a full time female Vulcan.  In fact, a JPFmovie consultant found an interview with her where she herself said that you need more than eye candy to make a Trek series—you also needed decent stories.  So she was aware of the limits that she could provide as a model.

We also found Enterprise a nice change of pace in that the Capitan was not an all knowing, never making any mistakes character, i.e. larger than life.  Scott Bakula, as Capitan Archer, screws up all the time—as he should, because Enterprise was humanity’s first venture into space beyond our system.  Picard, Sisko, and Janeway always made the right calls—never faltering.  Archer was constantly screwing up, as the Vulcan delegation on earth was quick to point out.  A human out there in space interacting with aliens (hostile or not) is going to make mistakes—and lots of them.   There was also the ship’s doctor, Phlox, an alien who proved quite interesting—a “Denoublan” who used odd creatures in the course of his medical treatments and had three wives who each had three husbands.  He was always a great one to watch.  Then too, Jeffrey Combs, who played many roles on DS9, was great as Commander Shram—the head of an alien race called the Andorians.

 

To keep this review at a readable length, the last thing we will comment on was Enterprise itself.  The ship, unlike Voyager, TNG’s Enterprise, and DS9’s invulnerable space-station, was fragile—prone to damage and breaking.  The ship never had shields or phasors (until several episodes in).  Much more often than not, Enterprise was no match for many of the alien ships that it encountered.  Again, something that one should expect when humans first begin to explore space outside of our solar system.

 

We read an article on Syfy’s site which also brought up some good points as to why Enterprise didn’t go the distance: The Internet!  TNG, DS9 and Voyager were essentially all pre-Internet boom shows, while Enterprise was subject to hypercritical analysis, which was like a cloud of noise that had a profound impact on the ability of others to just enjoy Enterprise, and also created the perception that the show was more reviled than it actually was.  Another interesting fact we didn’t know about Enterprise that sprang from the Internet was that it was unsurprisingly, one of the most pirated shows from 2001–2005 on sites like the Pirate Bay—so many viewers would not be reflected in the ratings.  Two ideas that JPFmovies put some serious stock in.

 

Despite all the “bad press” Enterprise was subjected to, it seems that the show is having a renaissance, many people are going to back to watch the show streaming on such outlets as Netflix, and the “bad press” is starting to be replaced with more positive posts—a long overdue interpretation of the series.

 
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Posted by on April 20, 2017 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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