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 »

“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

To me, Hunter S. Thompson was a hero. His early books were great, but in many ways, his life and career post–Fear and Loathing on the Campaign Trail is a cautionary tale for authors. People expected him to be high and drunk all the time and play that persona, and he stuck with that to the end, and I don’t think it was good for him. I always sort of feel mixed emotions when I hear that people went and hung out with Hunter and how great it was to get high with Hunter. The fact is the guy was having difficulty doing any sustained writing at all for years probably because so many quote, unquote, “friends” wanted to get high with him … There was a badly disappointed romantic there. I mean, that great line, “This is where the wave broke, the tide rolled back … ” This was a guy that was hurt and disappointed and very bitter about things, and it made his writing beautiful, and also with that came a lot of pain.
~ Anthony Bourdain