MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: Beresford, Saint Laurent, Techine, Red Road, Dennis Hopper and more

Edward Woodward, Bryan Brown and Lewis Fitz-Gerald are terrifically effective in their portrayal of the defendants, never overplaying the hands dealt their characters or wringing unwarranted sympathy for them out of viewers. Thompson, one of the most popular of all Australian actors, was awarded the Best Supporting Actor prize at the Cannes Film Festival for his portrayal of Thomas, whose frustration is palpable from the time his motion requesting more time to prepare his case is quashed. Beresford’s greatest achievement, however, was opening up Kenneth G. Ross’ play, “Breaker Morant: A Play in Two Acts,” as a way of putting the defendants’ actions into the larger context of a long, brutal and imperialistic war.

Read the full article »

The DVD Wrapup: Blind Chance, Furious 7, Monkey Kingdom, Borowczyk and more

Blind Chance: Criterion Collection: Blu-ray At the time of his death in 1996, at the far-too-young age of 54, Polish filmmaker Krzysztof Kieslowski had become one of the most widely admired writer/directors on the planet. His name might not have meant much to mainstream audiences in Western Europe and United States, but, among critics and…

Read the full article »

The DVD Wrapup: Boulevard, D Train, Gemma Bovary, Good Kill, Felt, Aquarius, Haven and more

Ever since Jack Black broke into the spotlight some 15 years ago in HBO’s “Tenacious D: The Complete Master Works,” High Fidelity and Shallow Hal, the likable musician/actor has worked feverishly to remain in its direct glare. At 5-foot-6, it hasn’t always been easy to remain visible, but, in Hollywood, being short isn’t always the liability it is in, say, the NBA.

Read the full article »

Dretzka

Quote Unquotesee all »

“On behalf of all nominees, we would like to express our unanimous and emphatic disapproval of the climate of fanaticism and nationalism we see today in the U.S. and in so many other countries, in parts of the population and, most unfortunately of all, among leading politicians.

“The fear generated by dividing us into genders, colors, religions and sexualities as a means to justify violence destroys the things that we depend on – not only as artists but as humans: the diversity of cultures, the chance to be enriched by something seemingly ‘foreign’ and the belief that human encounters can change us for the better. These divisive walls prevent people from experiencing something simple but fundamental: from discovering that we are all not so different.

“So we’ve asked ourselves: What can cinema do? Although we don`t want to overestimate the power of movies, we do believe that no other medium can offer such deep insight into other people’s circumstances and transform feelings of unfamiliarity into curiosity, empathy and compassion – even for those we have been told are our enemies.

“Regardless of who wins the Academy Award for Best Foreign Language Film on Sunday, we refuse to think in terms of borders. We believe there is no best country, best gender, best religion or best color. We want this award to stand as a symbol of the unity between nations and the freedom of the arts.

“Human rights are not something you have to apply for. They simply exist – for everybody. For this reason, we dedicate this award to all the people, artists, journalists and activists who are working to foster unity and understanding, and who uphold freedom of expression and human dignity – values whose protection is now more important than ever. By dedicating the Oscar to them, we wish to express to them our deep respect and solidarity.”

Martin Zandvliet – Land of Mine (Denmark)
Hannes Holm – A Man Called Ove (Sweden )
Asghar Farhadi – The Salesman (Iran)
Maren Ade – Toni Erdmann (Germany)
Martin Butler, Bentley Dean – Tanna (Australia)

“I don’t really believe in guilty pleasures. I like to subscribe to Susan Sontag’s thought of no highs and lows. I think dismissing popular culture and popular films can be really dangerous because they may seem innocuous, but some are works of art and even when they’re not they can say so much about the culture that they’re reflecting. This also gets into the idea of canon. What is good and isn’t good? Lately, I’ve been thinking a lot about that. Specifically, who writes these canons? Mainly, straight white guys — which basically rigs the system. So, if you have a knowledge of female filmmakers, queer filmmakers, African or Asian filmmakers, some people won’t give them the same culture capital. They’ll say, “Oh, that’s nice niche knowledge.” No, it’s not. You’re just seeing it through the prism of something white and male. Like Shonda Rhimes’ ‘Scandal.’ I love that show, but is it a guilty pleasure because it’s a soap on TV? No. I think it has incredible writing, incredible thought and characters, so we should take it seriously. That’s a long-winded answer to say, “Yes, I love Titanic.” I was 10 years old when it came out and my mom took me to see it three times. I was so obsessed with it. A big thanks to my mom who’ll never get those nine hours of her life back.”
~ Toronto Int’l Programmer and Critic Kiva Reardon