Its rare that a moment in a deeply flawed film completely signifies (and transcends) its tone deafness, but at one point in the preternaturally ridiculous, surprisingly star-studded, hatched well before the Recession panic Confessions of a Shopaholic, John Goodman, who’s made a side career of late playing dad to kids who drive fast and spend a lot, looks out at the a small New Jersey bay where he likes to come with his family. He stands next to his beautiful daughter, the “shopaholic” of the title, and offers a bit of perspective. He says, looking into Isla Fisher’s deeply vacant, always pleading eyes, “If the US can be billions of dollars in debt and survive, you can too.”

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Just over two months ago, Pajamas Media blogger Roger Kimball insisted that the economic picture could not possible be as dire as those mainstream liberal media hysterics wanted us to think. Then last week, Pajamas Media announced that their blog network is going out of business. Lesson learned: he who attempts to undercut the current economic pessimism ends up ironically fucked.

That is, unless “he” is talking about Hollywood. The movie industry is thriving so undeniably in this downturn –– Hollywood just wrapped its best January ever at the box office, with theater attendance up over 16% –– that just yesterday the MPAA’s proposed tax credits were thrown out of the economic stimulus package (California senators Barbara Boxer and Dianne Feinstein, no doubt well aware of the longer-tail consequences of the credit crunch on film financing, voted to keep the tax credits in). With the recent successes of mindless escapist fare like Paul Blart: Mall Cop, and the middling box office performance of “serious” Oscar contenders like Milk and Frost/Nixon, the pervasive meme in entertainment media coverage is that, just like during the first (and still the best!) Great Depression, audiences are flocking to the movies to forget their troubles.

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Last week in Park City, we joked more than once about being thankful for both the recession and global warming, for making Sundance 2009 the most pleasant installment of the festival I’ve ever attended - diminished crowds at screenings and events, and 40 degree weather to enjoy whilst traveling between. One night at a dinner table, I worried aloud that this joking would look pretty bad to an outside observer — us, the elitists who still had jobs and/or travel budgets, laughingly toasting the apocalypse.

And now, just three days later, comes the news that Variety has slashed 30 jobs, including those of Mike Jones (who I tagged in that silly Sundance meme post before seeing the news, obviously), Jeff Sneider and, maybe most surprisingly, Anne Thompson. Thompson “ankled” the Hollywood Reporter less than two years ago for the Variety job. Her most recent post on her Variety-hosted Thompson on Hollywood blog says she’ll keep the blog going, and is also “actively involved in a web start-up which is in stealth mode; details will be available soon. And I will continue teaching film criticism at USC and hosting Sneak Previews at UCLA Extension.”

I’m sure Anne, Mike and all the smart and talented people let go today will land on their feet. But I still wish I could take back the jokes.

• For those of you who don’t like the cold weather in Park City, Sundance is in negotiations to launch a version of its film festival in Abu Dhabi (pictured). Original idea was to hold the new fest in April, but it’s likely to happen later due to the current economy.
• Also an effect of the recession: a leaner Sundance, with lowered attendance, smaller crowds (particularly for lack of a lot of the people who go to Park City just to hang out), and fewer parties. The Salt Lake Tribune examines all the cutbacks, including economic effects on documentary filmmaking, distribution and Sundance deal-making, and ends with a nice quote from Robert Redford: “What might be a positive is that if there is less hoo-ha, less of a circus atmosphere, there will be more tendency to focus on what it is that we’re really about, which is the independent filmmakers and the quality of the work.”
• The Hollywood Reporter also spoke to Redford, who admits there are currently too many film festivals, and Sundance may eventually become obsolete as a result: “My feeling is when the day comes when we’re no longer providing the mission we started with — not creating something new for audiences, not creating opportunities for new artists to have a place to come and develop — then we shouldn’t be here, and we won’t. As long as we continue to create new advantages, we will continue, but not just to be continuing.”
• The New York Times profiles The Informers and its ill-fit premiere at this year’s fest. Says author/co-screenwriter Bret Easton Ellis: “When people tell you something’s ‘a real Sundance movie,’ that’s more negative than a compliment.”
• MTV.com has a shortlist of stars who are expected to be reinvented at this year’s fest: John Krasinsky; Patton Oswalt; Nick Cannon; and Sam Rockwell.

• “If they had to do it all over again, would DreamWorks co-founder Steven Spielberg and his partner Stacey Snider have left their lucrative deal at Paramount Pictures, where their slate of films had thrived, if they had foreseen the worsening financial environment?” According to Anne Thompson, DreamWorks is having a lot of trouble raising money during the credit crunch, and Spielberg and Snider may have to settle on a smaller business plan. On her blog, Thompson simplifies things: “But it’s Steven Spielberg! It doesn’t matter. The banks aren’t lending to anybody. It’s sheer bad luck.”
• Ari Folman is following up his winning animated doc Waltz With Bashir with an adaptation of Stanislaw Lem’s sci-fi short story The Futurological Congress, which will begin as live-action then transition to animation. “Think of your favorite young actress. She’ll appear that way at the beginning, and then as the film goes on, she’ll be drawn like she’s 50,” Folman explains. So, like Kate Winslet in The Reader, but as a cartoon rather than with distracting aging makeup.
• Barry Sonnenfeld will direct another sci-fi action comedy called The How-To Guide for Saving the World, which sounds like The Hitchhiker’s Guide to the Galaxy if Arthur and Ford had been able to use their book to twart the Vogon’s demolishon of Earth.
• Billy Ray will direct his own adaptation of the supernatural novel Conjure Wife, which has been filmed three times previously. The premise sounds like Bewitched as a horror film.
• Adam Shankman, who raised his comedy rep recently with Prop 8: The Musical (and may lower it again now with Bedtime Stories), has added another musical and another f/x extravanza to his pipeline. The former is the high-concept Bob the Musical; the latter is the long-in-works revival of Sinbad.

Earlier this month, Production Weekly reported that Alex Cox and David Lynch would begin shooting their Repo Man sequel, titled Repo Chick, next month. Fifteen 25 years after the release of the first movie, Cox revealed that it’s a timely revisit, as the new movie will “unfold against the background of the credit crunch and the subprime mortgage crisis in the US, where repossessions of homes, cars and other forms of property is at a new high.”

Coupled with the recent announcement that John Carpenter is producing a remake of his own They Live, the news of a second Repo Man film has us wondering what other ‘80s cult classics should appropriately be remade or revisited now that the economy is shit again. Depending on your definition of “cult film” (many people call Ghostbusters a cult classic), some of the selected films may not be fitting for that term. Regardless, the following ten movies, if redone today, would have definite relevance to these troubled times.

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• In yet another sign that 2008 is the new 1928, Hollywood, impressed by the massive first-weekend success of High School Musical 3, is rushing a number of music-based projects into production. Paramount is bumping their Zac Efron-starring, Kenny Ortega-directed remake of Footloose up the calendar; Nick and Norah director Peter Sollett has been asked to punch up the script before a spring shoot. Meanwhile, Fox is setting up their own big-screen musical around a passel of Disney Channel stars: this time, it’s the Jonas Brothers, and the project is the first film in a hoped-for franchise based on the “Walter the Farting Dog” books. Yes, there are apparently childrens books about farting dogs. Maybe it’s not The Great Depression 2 — maybe it’s Idiocracy 0.5.
• Perhaps surprisingly, Dan Glickman says that although “there’s no fundamental difference between Obama or McCain on intellectual property issues,” an Obama administration might be slightly more favorable for the MPAA’s fight against piracy, as Obama be expected to connect to “newer, younger White House staffers and appointees about the value and importance of IP.” But the studios’ lobbying board would clash sharply with a Democrat administration over net neutrality, which Obama strongly supports, and Glickman … doesn’t.
• DETAILS Magazine has invited their readers to submit film pitches. In partnership with Larry Meistrich of Shooting Gallery and Film Movement, the mag will seek a winning idea targeted at “intelligent, modern, metropolitan men,” they’ll then actually produce.

• A California appeals court has refused to force the Academy of Motion Picture Arts and Sciences to give a “retroactive Oscar” to Bob Yari for producing Crash. Yari was excluded from the film’s 2005 Best Picture win when the Academy changed qualification rules the same year, limiting a film’s eligible number of producers to three. Yari, who financed a large chunk of Paul Haggis’ “Race is hard” drama, has been in court begging for an Oscar ever since.
• In news that will crush Chris’ Brolin family dreams, Elizabeth Banks is on the verge of being cast as Laura Bush in Oliver Stone’s George W. Bush movie, which begins shooting next month.
• On what planet would investors think an extraordinarily fickle, recession-panicked moviegoing public would be willing to pay $35 for a movie ticket––plus extra for “theater-friendly foods” like sushi and wine? Um…