MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: Unfriended, Water Diviner, Reckless, Life on the Reef, Lost Soul and more

Unfriended isn’t for the casual users of the Internet. The multi-image presentation, which is extremely sophisticated, requires far more work on the part of the viewer than the typical narrative feature. The more experience one has in the world of cyber-communication, the scarier Unfriended will be.

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The DVD Wrapup: What We Do In Shadows, Resnaisx2, Marfa Girl, and more

One needn’t have been a zealous fan of “Flight of the Conchords” and Eagle vs Shark, or even a vampire completist, to be drawn to What We Do in the Shadows. Those who are, however, probably will get a real kick out of this razor-sharp genre parody from New Zealand. The largely improvised mockumentary defies the odds by doing an end-run around the Scary Movie and Scream franchises and adding a supernatural spin to such bros-will-be-bros pictures as Swingers and Saturday Night Fever.

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The DVD Wrapup: Salt of the Earth, Ex Machina, It Follows, Goodbye to All That, Black Stallion and more

Alex Garland’s highly ambitious digital wet dream Ex Machina advances the sub-genre by setting it in an idyllic retreat, owned by a reclusive cyber-billionaire, and infusing his megalomaniacal vision with ideas inspired by Greek and Roman tragedies and mythology, the Old Testament, the Bhagavad Gita, Ludwig Wittgenstein, Steven Spielberg, Stanley Kubrick, Titian, Mary Shelly, crappy 1970s disco and Depeche Mode. Ex Machina is the kind of super-smart movie that should carry footnotes at the bottom of the screen.

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The DVD Wrapup: Woman in Gold, Clouds of Sils Maria, Human Capital, House of Cards and more

I wonder if Meryl Streep gets depressed when she isn’t nominated for an Academy Award as Best Actress or Best Supporting Actress. Maybe she feels relieved, knowing that she can avoid the annual crush of parties, press conferences and all of the ass kissing that comes with each and every nomination. Maybe, someday, Streep will be allowed the privilege of being chosen alongside one or both of her acting daughters, Grace and Mamie Gummer, or simply cheer them on from the sidelines. Streep doesn’t appear in Clouds of Sils Maria, Olivier Assayas’ brilliant drama about actors and acting. If any actress deserves to be mentioned in the same breath as Streep, it’s Juliet Binoche, who not only stars in Clouds of Sils Maria, but also delivers one of the great performances of her career.

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The DVD Wrapup: Danny Collins, Get Hard, Decline of Western Civilization, Downtown 81 and more

There are moments in Dan Fogelman’s wildly uneven rock-‘n’-roll fantasy, Danny Collins, that suggest the writer-director was raised on classic-rock radio and his titular protagonist (Al Pacino) was modeled less after Bruce Springsteen, Bob Seger or Rod Steward, than Neil Diamond, Billy Joel or a post-Wings Paul McCartney. That much is clear when Collins arrives on stage for the first time, looking as if he might rip into “Born in the U.S.A.,” “Katmandu” or “Maggie May,” but, instead, delivers what amounts to Diamond’s between-innings anthem, “Sweet Caroline.” It sounds out of place when sung by a wrung-out, blurry-eyed geezer, whose “Elvis scarves” are older than everyone in his band. Collins has been so strung out for so long that he hasn’t written a new song in 30 years and can’t readily recall the details of two of his marriages.

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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