MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup, Gift Guide II: Great American Dream Machine, McHale’s Navy, Brothers Quay, Shaun the Sheep, No Escape and more

At a time when public-broadcast stations were commonly referred to as “educational TV,” a show likened to an “intellectual ‘Laugh-In’” began production on New York City’s non-commercial WNET. “The Great American Dream Machine” was a weekly satirical variety television series. Its audience may have been miniscule compared to “Laugh-In,” but it was composed of hard-core liberals, media mavens and the next generation of opinion-makers. It didn’t take long for the show to bear fruit in the form of “The Groove Tube,” “Saturday Night Life,” “SCTV” and Kentucky Fried Movie. Watch the show today on DVD and you’ll recognize the forebears of Jon Stewart, Steven Colbert, Trevor Noah and John Oliver.

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The DVD Wrapup: Crumbs, Meru, Tenderness of Wolves, Living in Oblivion and more

As tiresome as most movies about our shared dystopian future have become, longtime fans of the increasingly predictable sub-genre shouldn’t give hope of finding something new and different until they’ve seen Crumbs, an instant classic from a place that looks as if it had already experienced the apocalypse and was left standing.

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The DVD Wrapup: Stations of the Cross, Code Unknown, Julien Duvivier, Eric Rohmer and more

Ida revealed truths about the deeply engrained anti-Semitism of many of the faithful. Stations of the Cross is Dietrich Brüggemann’s tragic depiction of religious fundamentalism at its most destructive and, as such, can be construed as serving as an indictment of one particularly conservative Catholic order. This one is based in southern Germany, an area not immune to fanaticism.

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The DVD Wrapup: Jurassic World, Back to Future, Inside Out, Toy Story, Benoit Jacquot and more

To paraphrase the Budweiser advertising jingle, “When you’ve collected $1.58 billion at the worldwide box office, you’ve said it all.”

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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