MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Gift Guide

Now that we’ve put Black Friday and Cyber Monday in our rear-view mirrors, it’s time to consider the gift that keeps on giving: entertainment. The DVD/Blu-ray economy is such that the period between Thanksgiving and Christmas no longer is reserved for the release of special and collector’s editions, boxed sets and videos with toys attached to them. Neither did one need to wait until Black Friday for the best deals. Here are few titles that have arrived recently or didn’t arrive for the normal consideration. If the recipient of your generosity doesn’t yet own a Blu-ray player, however, I recommend starting there.

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The DVD Wrapup: MiB3, Lawless, Beijing Punk… More

Seven years ago, director John Hillcoat collaborated with writer-composer Nick Cave and actor Guy Pearce on the excellent Outback Western, “The Proposition.” They combined their talents again on “Lawless,” a slick hillbilly gangster flick set during America’s Prohibition experiment. Like “The Proposition,” “Lawless” is a smart and exciting genre that isn’t afraid to ratchet up the violence when things get too contemplative and self-consciously hip. Even more so than Hillcoat’s revisionist Western, though, his moonshine drama probably would be a better fit at a drive-in theater than an arthouse.

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The DVD Wrapup: Nicholas Ray, Rolling Stones, Dust Bowl, Speechless… More

Whenever the roll of movie mavericks is read up yonder, no one has to wait very long before Nicholas Ray’s name is called. Like Sam Fuller, he stuck out like a sore thumb in Hollywood, if only because he’d already lived a hugely eventful life before committing to film and understood the power of the medium to separate the truth from fantasy. In what some of his peers probably considered a fatal flaw, Ray had very little interest in compromising his artistic vision for the sake of commercial and personal gain. Even so, he made movies for mass consumption, not strictly for the arthouse crowd familiar with his past connections to architect Frank Lloyd Wright, folk-music archivist Alan Lomax, Dust Bowl balladeer Woody Guthrie, producer John Houseman, director Elia Kazan and other key players in the progressive New York theater scene in the 1930s. If he somehow managed to avoid being rounded up in Red Scare dragnet, his sentiments remained clearly on the side of outcasts, the downtrodden and rebellious youth.

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The DVD Wrapup: Brave, Dark Horse, Weekend, Pasolini … More

No one makes movies quite like Todd Solondz and that’s probably a good thing. It takes a special talent to find the humanity in characters most of us would consider to be despicable, while also exploring how they’ve managed to fit into mainstream society as long as they have.

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The DVD Wrapup: Sister’s Sister, Even the Rain, Kerouac, [REC]3, Arthur Christmas … More

Just when it seemed as if Lynn Shelton’s “Your Sister’s Sister” was going to turn into a really long version of a dopey Gen Y sitcom, it switched into a higher gear and became something far more unexpected, sophisticated and interesting.

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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