MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

Cannes 2006: Come back, Edy Williams … all is forgiven

May 26, 2006 At least once in every reviewer’s career a story is written to convince to readers – and, implicitly, various editors and bosses – that watching and writing about movies for a living is hardly the picnic everyone assumes it to be. Variations on the same theme are written by reporters assigned to…

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'Da Vinci Code' barbs span the globe at warp speed

April 17, 2006 Whew, that was close! Here. I was thinking of flying to Bahrain or Iceland yesterday to get a head start on forming my own opinion on the mysteries revealed in “The Da Vinci Code” — as recommended by director Ron Howard — but no one at LAX seemed interested in accepting my…

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If flap over 'Da Vinci Code' sounds familiar, re-visit 'Baby Doll' and 'Viridiana' on DVD

April 8, 2006 John Waters often credits the Catholic Church’s now-defunct Legion of Decency with steering him toward the sorts of movies that would shape his cinematic oeuvre. If, as a lad of 12, Baltimore’s favorite son hadn’t taken Francis Cardinal Spellman’s loud condemnation of “Baby Doll” as an invitation to calculate the wages of…

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‘Only the Brave’ follows by 55 years Hollywood’s only salute to Nisei soldiers

Look up “Nisei” in the IMDB database and only four titles pop up. Surprisingly, perhaps, the first was made in 1951, when World War II movies were being turned out like so many Fords in Dearborn. The most recent, “Only the Brave,” is struggling for distribution. “Go for Broke!” told the story of the 442nd…

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Stop the madness! Enough on Pellicano, already … wake us in time for the movie

May 3, 2006 Like almost everyone else in Los Angeles, I’ve become so distraught by recent revelations in the Pellicano-gate scandal (there, I’ve said it) that I’ve had a hard time concentrating on the business at hand. By comparison, navigating around Monday’s immigration boycott was a walk down the Yellow Brick Road. I still find…

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Dretzka

Quote Unquotesee all »

“I don’t really believe in guilty pleasures. I like to subscribe to Susan Sontag’s thought of no highs and lows. I think dismissing popular culture and popular films can be really dangerous because they may seem innocuous, but some are works of art and even when they’re not they can say so much about the culture that they’re reflecting. This also gets into the idea of canon. What is good and isn’t good? Lately, I’ve been thinking a lot about that. Specifically, who writes these canons? Mainly, straight white guys — which basically rigs the system. So, if you have a knowledge of female filmmakers, queer filmmakers, African or Asian filmmakers, some people won’t give them the same culture capital. They’ll say, “Oh, that’s nice niche knowledge.” No, it’s not. You’re just seeing it through the prism of something white and male. Like Shonda Rhimes’ ‘Scandal.’ I love that show, but is it a guilty pleasure because it’s a soap on TV? No. I think it has incredible writing, incredible thought and characters, so we should take it seriously. That’s a long-winded answer to say, “Yes, I love Titanic.” I was 10 years old when it came out and my mom took me to see it three times. I was so obsessed with it. A big thanks to my mom who’ll never get those nine hours of her life back.”
~ Toronto Int’l Programmer and Critic Kiva Reardon

“A lot of us felt blindsided,” Van Vliet told me. In the seventies, Van Vliet was drafted out of film school by Industrial Light & Magic, where he worked on The Empire Strikes Back and Raiders of the Lost Ark. Now 62 and semi-retired, he said, “Once you get into your fifties, you’re pretty disposable.” Van Vliet was in the middle of reviewing DVD screeners before casting his Oscar votes, a process he estimated would take a hundred and twenty hours. “The Academy is essentially asking us to give them three weeks of labor, and then they’re going to take our results, put them into a ceremony, and sell it,” he said, referring to the seventy-five million dollars that the organization earns from the television broadcast. “Then they’re turning around and kicking us in the teeth.”
~ “Shakeup At The Oscars”