MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: Contraband, Camelot, Return, Young Goethe, Innkeepers, Hollis Frampton … More

Like JFK’s legacy, the movie version of “Camelot” hasn’t aged well in the succeeding nearly 50 years. In fact, after knocking ’em dead on Broadway in the early 1960s, the movie version failed to overwhelm Oscar voters or attract nearly the same number of fans as “My Fair Lady.”

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The DVD Wrapup: Ghost Protocol, Shame, Last Rites of Joe May… More

Even if “Shame” doesn’t offer many answers and fewer resolutions, it can’t be said that we don’t know these people after 101 minutes in their presence. It feels like a fully realized short story or novella. The acting is terrific and McQueen’s direction delivers a real punch. It’s not an easy movie to watch, though, so viewers not looking for a challenge may want to think twice before renting it.

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The DVD Wrapup: Iron Lady, Conquest, Sleeping Beauty, Streetcar, Dark Shadows … More

In the mid-’60s, the demographics of daytime TV were significantly different than those associated with prime-time sitcoms. Fewer women worked in full-time jobs and they tended to control buying patterns at the supermarket. Romance in the afternoon was blooming and it didn’t include fangs and capes. Even so, Dan Curtis’ brainstorm would enjoy a six-year run, thanks, in large part, to support from teenagers who rushed home from school – or, so we’re told – to enjoy the kinky storylines and handsome undead characters. “Dark Shadows” was as different from “The Guiding Light” and “The Days of Our Lives” as “American Bandstand” was to “Lawrence Welk.”

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The DVD Wrapup: War Horse, Zoo, Miss Bala, Chinatown, Tyrannosaur…

Gerardo Naranjo’s “Miss Bala” describes how weird things can get when the trajectories of a violent drug gang and contestants in a beauty pageant cross paths in Tijuana, one of the world’s most dangerous cities. “Miss Bala” is an extremely violent movie, as befits the times in Mexico’s drug war, but Lino’s determination to give Laura her shot at stardom borders on the hilarious. By the time she gets to the interview stage, Laura can barely remember her name. Naranjo uses Tijuana as well as Steven Soderbergh did in “Traffic” and the cruelty of the perpetrators of the violence is palpable throughout the movie.

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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”