MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: Magician: Orson Welles, The Confession and more

In the stage and cinema works of Rainer Werner Fassbinder, it wasn’t always easy for postwar German audiences to differentiate between social satire, parody and provocation. The same holds true for his legacy on film, outside Germany. In a career that lasted 16 years, he was responsible for writing, directing and acting in nearly 50 movies, shorts and TV mini-series, as well as continuing to create Brechtian theater pieces. After beginning his career in the late 1960s making films that ranged from experimental to difficult, Fassbinder would turn to the Hollywood melodramas of German émigré Douglas Sirk for creative inspiration.

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The DVD Wrapup: Leviathan, Lovesick, Before I Disappear, Blue Room and more

Instead of being iron-fisted by Communist Party functionaries, however, the populace is ruled by an increasingly militaristic government and bullied by plutocrats, gangsters, small-minded politicians and conservative leaders of the ascendant Russian Orthodox Church. That much, at least, can be inferred in Andrey Zvyagintsev’s overtly allegorical drama, Leviathan, which ironically was inspired by the story of a Colorado man whose beef with city officials eventually led him to armor-plate a bulldozer and use it as a battering ram against bureaucratic intransigence.

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The DVD Wrapup: 50 Shades, Selma, Mr. Turner, The Nun, Snuff and more

Although some of the lovemaking is inarguably sensual, the contract-negotiating scene is the only one that rivals the best passages choreographed by Adrian Lyne in 9½ Weeks or in such classics of the sub-genre as Belle du Jour, Secretary, Crash, The Story of O or The Image. As difficult as it is to take potshots at a picture that’s made more than a half-billion dollars in worldwide distribution or might match that in DVD/VOD/Blu-ray revenues, I still think we have a long way to go before mainstream audiences are allowed a real taste of non-generic eroticism,

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The DVD Wrapup: The Gambler, Wedding Ringer, Boy Next Door, Paddington, Eddie Coyle, Wolf Hall and more

Bennett isn’t as much a degenerate gambler as one who refuses to win, even when he’s holding a pat hand. No matter how much he’s up, everyone from the pit bosses to viewers knows he’s going to give it all back and borrow even more money to keep losing. When he convinces his beleaguered mother (Jessica Lange) to give him a small fortune in cash to pay off the debts, everyone, including Mom, knows he’s going to piss it away.

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Dretzka

Quote Unquotesee all »

“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson