MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup

Beetlejuice, Lore, Shoot First, Dark Skies, Dorfman in Love, As Goes Janesville, Robert Mitchum Is Dead, Totoro, Longmire … and so much more.

Read the full article »

The DVD Wrapup

Beautiful Creatures, Cloud Atlas, Nightfall, Common Man, Love Sick Love, Rolling Thunder, Bad-Ass Girl, Ecstacyand so much more

Read the full article »

The DVD Wrapup

Escape, Charles Swann III, Back to 1942, Frankie Go Boom, Face 2 Face, Last Stand, Eagles, Of Two Minds, Bletchley … and so much more.

Read the full article »

The DVD Wrapup

Jack Reacher, Upstream Color, Starlet, Oranges, Safe Haven, ID:A, Mama, Rabbi’s Cat, Gatsby, Henry Fonda, Zapata… and so much more.

Read the full article »

The DVD Wrapup

China Beach, Broken City, Not Fade Away, Happy People, Vampire Lovers, Kluge, Graham Greene…and so much more.

Read the full article »

Dretzka

Quote Unquotesee all »

“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“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