MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

Gary Dretzka Digital Nation: Kisses

As the title of Lance Daly’s sweet coming-of-age dramedy implies, lips meet lips in Kisses. If for no other reason than those lips are on the faces of characters 13 and 11 years old, the embraces are few, but memorable. Revealing anything more about the tenor, timing or taste of those kisses would require a…

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The DVD Wrap by Gary Dretzka: Greenberg, The Bounty Hunter, Chloe, Our Family Wedding, The Only Son/There was a Father, Diary of a Nymphomaniac and more …

Greenberg: Blu-ray Movie critics may be endangered lot, but they do serve a purpose. Noah Baumbach’s Greenberg — a comedy so dark, it borders on tragedy – provides an excellent case in point. I wonder how many fans of Ben Stiller, whose movies typically don’t need the approval of newspaper pundits to be successful, braved…

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Music Box Films Bets on a Win with “Girl” Double-Header

Music Box Films, whose namesake theater stands within shouting distance of Wrigley Field, is playin’ two this week. And, no, Cubs icon Ernie Banks isn’t appearing in either movie. In the cinematic equivalent of a double-header, the three-year-old distribution company has released on DVD and Blu-ray The Girl With the Dragon Tattoo, with The Girl…

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Dretzka

Quote Unquotesee all »

“All of the security, all of the waiters, all of the musicians … that’s 3,000 people!” The shopping required fifty tractor trailers. The are thirty gallons of cocktail sauce; 350 pounds of smoked salmon; 200 pounds of brussels sprouts, 250 pounds parmesan cheese; 3,600 eggs; 6,000 mini-brioche buns; five gallons of hot fudge; 20 pounds pickled ginger; 30 pounds edible gold dust; 7,000 miniature chocolate Oscars. There are 1,400 bottles of Piper-Heidsieck champagne and 2,200 bottles from Francis Ford Coppola’s winery. This will be served in and upon 13,000 glasses, 4,500 bamboo skewers, 4,800 ramekins and 6,000 cocktail forks.”
~ Wolfgang Puck Goes Oscar Dinner Shopping

“While these images seem to reveal all, they disclose nothing beneath the surface. All that we know is what we see onscreen and that Seberg’s face is delicate and lightly creased. She’s rarely shown smiling, although there are instances when she laughs emphatically, moments that feel uncomfortable and artificial, as if she were trying out an emotion she had forgotten. We know the texture of her skin; the patterns on the walls; the depth of field; the quality of the light; the contrast of the black-and-white film; the level of grain; the dowdiness of her clothes. She’s partial to granny dresses, or maybe they’re nightgowns, and when she stands in front of a window, the sunlight glows softly, creating a kind of ravishing halo effect: Saint Jean.”
~ Manohla Dargis On Philippe Garrel’s Les Hautes Solitudes