MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: Spotlight, Good Dinosaur, Cannibal Women, Bees and more

Like All the President’s Men, Spotlight is a journalistic procedural and the target of the investigation is abuse of power. While terrible crimes are unraveled, the excitement comes from watching highly trained and unusually dedicated reporters work on all eight cylinders in pursuit of a single goal: the truth. 

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The DVD Wrapup: Black Mass, Trumbo, Death by Hanging, Taviani Trilogy, Iron Ministry, Paprika, Black Panthers and more

Unlike so many other Hollywood gangster movies, Black Mass doesn’t waste a lot of time attempting to humanize Bulger and his pals. Indeed, it can be argued that Johnny Depp’s decision to wear icy blue contact lens occasionally makes him look too demonic. At one point, the recently released ex-con orders his buddies to help an elderly woman with her groceries, but it’s a brief sequence, quickly overshadowed by violent crimes. Bulger’s pain over losing his 6-year-old son, Douglas, to Reyes disease, is feels genuine, if only because it heightens his resolve to stay out of jail. Otherwise, Depp’s portrayal honestly describes a sociopathic killer, who doesn’t feel as if societal rules apply to him.

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The DVD Wrapup: 99 Homes, Grandma, Crimson Peak, Jan Troell, Sheba Baby and more

One way to view Ramin Bahrani’s gut-churning drama, 99 Homes, is as a powerful indictment of the corrupt practices embraced by the real-estate industry in the still unresolved collapse of the American economy. Lenders profited from the misery of homeowners who lost their jobs and couldn’t keep up with the first and second mortgages they pursued to afford everything from necessary home improvements to such luxuries as swimming pools, vacation condos and sports cars. As long as the economy was firing on all eight cylinders, everything was jake. When it spit out the bit, however, vultures like the character played by Michael Shannon in 99 Homes swooped in to displace the suckers and enrich themselves.

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The DVD Wrapup: Bridge of Spies, Truth, Snow White, Breathe and more

There’s always a point in a Steven Spielberg movie where I want to pull out my cellphone – or hit the pause button on my remote – to check the validity of what’s just happened on the screen. Likewise, there are times in every performance by Tom Hanks when he appears to be channeling Henry Fonda or Jimmy Stewart, instead of remaining within the skin of his character. It doesn’t take me out of the picture for very long, just enough to remind me that the operative word in “based on a true story” is “based,” not “true.” Most fact-based movies made in Hollywood require a suspension of disbelief for the sake of telling a story. It comes with the price of a ticket. If any collaborative team is allowed more latitude than Spielberg and Hanks, however, I’d be hard-pressed to name it.

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Dretzka

Quote Unquotesee all »

“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas