MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: Oranges & Sunshine, Bullhead, Spalding Gray, Deliverance … More

Michaël R. Roskam not only uses steroid smuggling as a device to advance the plot, but his protagonist is addicted to them physically and psychologically, as well.

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The DVD Wrapup: Jeff at Home Project X, The FP, Nine Muses … More

A decade ago, Mark and Jay Duplass helped create a niche in the indie world commonly referred to as “mumblecore.” Generally speaking, these are low-budget, largely improvised productions, populated by characters that would be considered unexceptional and treated as invisible, unless, perhaps, they lived in the apartment next door, occupied a cubicle beside you at work or dated one of your kids. This isn’t to imply these people lead meaningless lives; only that almost everything they do falls under the loose heading of “normal.” If there’s been a hipster cachet attached to mumblecore titles, it’s because what’s considered commonplace by most mainstream standards can be revelatory when observed by viewers in similar circumstances and when photographed in credibly natural fashion.

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The DVD Wrapup: In Darkness, Sherlock Holmes, Accident, Ghost Rider … More

Try to imagine a Hitchcockian thriller, as choreographed by Rube Goldberg, and you might have an idea what to expect from Pou-Soi Cheang’s perversely clever “Accident.” Set largely in the bustling streets of Hong Kong, the award-winning import describes how a tightly-knit gang plots elaborate hits on people targeted by a mastermind known as the Brain.

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The DVD Wrapup: John Carter, Journey 2, Safe House, Hit So Hard, Hondo, Act of Valor, Desire, Falling Skies … More

This epic sci-fi adventure would have been much better served if it had been marketed as “Edger Rice Burroughs’ John Carter,” instead of simply, “Disney: John Carter.” It takes an ego the size of the Matterhorn to think audiences would feel better about seeing a movie as generically titled as “John Carter,” simply because of the Disney brand, instead of as the brainchild of one of the genre’s godfathers.

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Dretzka

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“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch

To me, Hunter S. Thompson was a hero. His early books were great, but in many ways, his life and career post–Fear and Loathing on the Campaign Trail is a cautionary tale for authors. People expected him to be high and drunk all the time and play that persona, and he stuck with that to the end, and I don’t think it was good for him. I always sort of feel mixed emotions when I hear that people went and hung out with Hunter and how great it was to get high with Hunter. The fact is the guy was having difficulty doing any sustained writing at all for years probably because so many quote, unquote, “friends” wanted to get high with him … There was a badly disappointed romantic there. I mean, that great line, “This is where the wave broke, the tide rolled back … ” This was a guy that was hurt and disappointed and very bitter about things, and it made his writing beautiful, and also with that came a lot of pain.
~ Anthony Bourdain