MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: God’s Pocket, Captain America, For No Good Reason, Pumpkinhead, Fed Up, Midnight Special, Goldbergs, New Who … More

Anyone who may have wondered what was lost with the untimely death of Philip Seymour Hoffman–last February, at 46, to a drug overdose–shouldn’t have to look very far to study his impressive body of work. Once a prince of the indie realm, Hoffman more recently balanced his schedule with key supporting roles in such studio blockbusters as Mission: Impossible III and The Hunger Games: Catching Fire, as well as dramatic turns on Broadway. Never someone who could be mistaken for a classic Hollywood leading man, Hoffman’s presence was felt in every scene in which he appeared.

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The DVD Wrapup: Draft Day, Jackpot, Queen Margot, Tinto Brass, Love Streams and more

Anyone looking for the graphic 16th century violence missing from Age of Uprising can find it Cohen Media’s superb 4K restoration of Patrice Chéreau’s 159-minute version of Queen Margot. It also offers as much sex and nudity—gratuitous and otherwise—as “The Game of Thrones” and “Borgias.”

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Dretzka

Quote Unquotesee all »

“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch