MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrap: Sex and the City 2, The Girl Who Played with Fire, Kisses, Alien Anthology, Back to the Future 25th Anniversary Trilogy

Sex and the City 2: Blu-ray After scoring a direct financial hit with the first feature-length adaptation of HBO’s Sex and the City, its producers naturally elected to push their luck with this sequel, which adds yet another 150 minutes to the saga. What, on television, could easily be digested in tidy 30-minute portions, now…

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The DVD Wrap: Psycho 50th Anniversary Edition, The Rocky Horror Picture Show: Limited Edition, Troll 2, Apocalypse Now: Full Disclosure Edition … and more

Psycho: 50th Anniversary Edition: Blu-ray The Psycho Legacy The Rocky Horror Picture Show: Limited Edition Night of the Demon Assault of the Sasquatch Troll 2: Blu-ray Tales From the Darkside: Final Season Lest we forget, Halloween draws nigh. Psycho is one of those films that require absolutely no introduction. Anyone who considers him or herself…

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Digital Nation: Down Terrace

One of the knocks against portrayals of organized crime in American movies and television is that they tend to make criminality look like a reasonable career choice, until the bullets and subpoenas start flying, anyway. The same applies for the use of drugs, alcohol, tobacco and firearms. It’s fun until it isn’t. There’s nothing even…

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The DVD Wrap: Splice, The Magician, White on Rice, Leaves of Grass, and more …

Splice: Blu-ray If an Academy Award were given each year to the most ingenious new monster, it would be difficult to choose between the conjoined creature created by a mad surgeon in The Human Centipede and the genetic abominations in Splice. In Vincenzo Natali’s continuously inventive sci-fi/horror thriller, Splice, a pair of young scientists extends…

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Digital Nation: In Washington, No One Can Hear You Scream

Eliminate the birthers, tax-dodgers, bigots, wannabe witches, Flat Earth diehards and Palin-tologists from the Tea Party movement and you’ll find the righteously angry offspring of the just plain pissed-off Americans, who, in Network, opened their windows and shouted “We’re as mad as hell and we’re not going to take this anymore.”

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The DVD Wrap: The Karate Kid, Beauty and the Beast, The Human Centipede, The Rig, A Nightmare on Elm Street, The Slumber Party Massacre Collection … and more

The Karate Kid The concept is simplicity itself: The Karate Kid in China, with Will and Jada Pinkett Smith’s way-cool son, Jaden Smith, in the Ralph Macchio role and Jackie Chan in the place once reserved for Pat Morita. Instead of shooting a silver-anniversary version of Karate Kid in Vancouver or a back lot in…

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Dretzka

Quote Unquotesee all »

What do you make of the criticism directed at the film that the biopic genre or format is intrinsically bourgeois? That’s the most crazy criticism. That’s an excuse for not engaging with the content of the movie. Film critics sometimes, you know, can be very lazy.

Come on, formal criticism is valuable too. But I’m amazed when this is the thing they put in front of the discourse. My situation is that I’m dealing with a highly explosive subject, a taboo subject that nobody wants to deal with.

Karl Marx? Yes, this is the first film ever in the Western world about Marx. And I managed to make an almost mainstream film out of it. You want me at the same time to play the artist and do a risky film about the way my camera moves and the way I edit? No, it’s complicated enough! The artistic challenge — and it took me ten years with Pascal to write this story — was the writing. That was the most difficult part. We were making a film about the evolution of an idea, which is impossible. To be able to have political discourse in a scene, and you can follow it, and it’s not simplified, and it’s historically true. This is the accomplishment. So when someone criticizes the formal aspects without seeing that first, for me, it’s laziness or ignorance. There’s an incapacity to deal with what’s on the table. I make political films about today, I’m not making a biopic to make a biopic. I don’t believe in being an artist just to be an artist. And by the way, this film cost $9 million. I dare anyone in the United States to make this film for $9 million.
Raoul Peck on The Young Karl Marx

“The Motion Picture Academy, at considerable expense and with great efficiency, runs all the nominated pictures at its own theater, showing each picture twice, once in the afternoon, once in the evening. A nominated picture is one in connection with which any kind of work is nominated for an award, not necessarily acting, directing, or writing; it may be a purely technical matter such as set-dressing or sound work. This running of pictures has the object of permitting the voters to look at films which they may happen to have missed or to have partly forgotten. It is an attempt to make them realize that pictures released early in the year, and since overlaid with several thicknesses of battered celluloid, are still in the running and that consideration of only those released a short time before the end of the year is not quite just.

“The effort is largely a waste. The people with votes don’t go to these showings. They send their relatives, friends, or servants. They have had enough of looking at pictures, and the voices of destiny are by no means inaudible in the Hollywood air. They have a brassy tone, but they are more than distinct.”All this is good democracy of a sort. We elect Congressmen and Presidents in much the same way, so why not actors, cameramen, writers, and all rest of the people who have to do with the making of pictures? If we permit noise, ballyhoo, and theater to influence us in the selection of the people who are to run the country, why should we object to the same methods in the selection of meritorious achievements in the film business? If we can huckster a President into the White House, why cannot we huckster the agonized Miss Joan Crawford or the hard and beautiful Miss Olivia de Havilland into possession of one of those golden statuettes which express the motion picture industry’s frantic desire to kiss itself on the back of its neck? The only answer I can think of is that the motion picture is an art. I say this with a very small voice. It is an inconsiderable statement and has a hard time not sounding a little ludicrous. Nevertheless it is a fact, not in the least diminished by the further facts that its ethos is so far pretty low and that its techniques are dominated by some pretty awful people.

“If you think most motion pictures are bad, which they are (including the foreign), find out from some initiate how they are made, and you will be astonished that any of them could be good. Making a fine motion picture is like painting “The Laughing Cavalier” in Macy’s basement, with a floorwalker to mix your colors for you. Of course most motion pictures are bad. Why wouldn’t they be?”
~ Raymond Chandler, “Oscar Night In Hollywood,” 1948