MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: Welcome to NYC, Falling Star, Elena, Riot Club, Runner, Citizenfour, Clive Barker, Walking Dead, Gene Autry … More

One thing DSK almost certainly won’t be able to live down is the damning portrayal of his behavior in Abel Ferrara’s caustic Welcome to New York. Although the character’s name has been changed simply to Devereaux, there’s no mistaking who Gérard Depardieu is channeling. The great French actor and onetime Oscar nominee has come under heavy criticism of late for renouncing his citizenship and cozying up to Russia’s Vladimir Putin. Still, there’s no denying the sheer audacity of his performance here. DSK may never be mistaken for Arnold Schwarzenegger, another politician who couldn’t control his impulses, but even he must have been embarrassed by the sight of an actor who looks as if he’d been mainlining foie gras and guzzling Big Gulps to bring up his weight.

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The DVD Wrapup: 100-Year-Old Man, Strangerland, La Grande Bouffe, Troma’s War, Hackers, The Rebel, 17 and more

If Forrest Gump had an uncle living in Sweden, he might have provided the inspiration for novelist Jonas Jonasson and filmmaker Felix Herngren’s hilarious geezer comedy, The 100 Year-Old Man Who Climbed Out the Window and Disappeared. The similarities between the film’s protagonist, a half-wit pyromaniac named Allan and Tom Hanks’ most beloved character can hardly be disputed. That he also bears certain cursory resemblances to Leonard Zelig only adds to the fun.

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The DVD Wrapup: Chris Farley, Match, Treatment, Blues Cruise, Reminiscence, Soaked in Bleach, Police Story 6, Fury, Israeli Passion … More  

A more appropriate title for the sadly nostalgic bio-doc, I Am Chris Farley, might have been, “A Portrait of the Artist as a Young Goofball,” as it precisely describes the rise and fall of an attention-starved child of the American Midwest. The Madison, Wisconsin, native somehow knew from an early age that being fat, reckless and funny opened doors closed to kids who merely were overweight and willing to make themselves the butt of other people’s jokes.

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The DVD Wrapup: Madame Bovary, Adult Beginners, Descendants, Salvation, Wyrmwood, Seashore, Snow Girl, Flamenco, Bilko … More

In Sophie Barthes’ lushly mounted Madame Bovary, 25-year-old Aussie Mia Wasikowska convincingly plays the disillusioned wife of a country doctor whose unmet expectations and boredom are sated by material pleasures they can’t afford. If there isn’t anything wrong with the approach taken by Barthes, its bourgeois trappings and rural splendor are all too familiar in a marketplace filled with period adaptations of classic novels, however tragic or sexy.

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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