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.

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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…

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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.

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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