MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: Burns on Robinson, The Force Awakens, Dylan/Zappa, Jorg Buttgereit, Tony Perkins and more

Considering that Ken Burns put a tight focus on Jackie Robinson several times in his epochal 1994 documentary series, “Baseball,” and MLB has bent over backwards since 1997 to remind a new generation of fans of his significance to the game and beyond, it may seem curious that he would devote another four hours to this great African-American athlete and humanitarian. Fact is, though, there isn’t a superfluous moment in the entire 240-minute length of PBS’ tremendously compelling “Ken Burns: Jackie Robinson.”

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The DVD Wrapup: Stealing Cars, Dixieland, Great Hypnotist, The Forest, Dreams Rewired, Giallo, Zydeco, Alice’s Restaurant and more

If this affecting teen drama had been made in the 1930s, it might have starred Mickey Rooney as the most unrepentant juvenile delinquent in a reform school full of hard cases. Or, it could have provided the perfect ensemble vehicle for the Dead End Kids, with Leo Gorcey standing up to the brutal screws and finding redemption in the nifty car he’s assigned to wax for the warden. In Stealing Cars, Emory Cohen (The Place Beyond the Pines) plays the self-destructive Billy Wyatt, a too-smart-for-his-own-good wiseass whose criminal behavior lands him in the Bernville Camp for Boys. Seemingly without any concern for his own safety, Billy shoves his education in

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Dretzka

Quote Unquotesee all »

Who are the critics speaking to?
Nobody seems able to answer the question of how you can make theatre criticism more appealing, more clickworthy. One answer is to be a goddamn flamethrower every week, be a bombthrower, to write scorched-earth reviews. Just be completely hedonistic and ego-driven in your criticism, become a master stylist, and treat everything in front of you onstage as fodder for your most delicious and vicious language. That’s one road. And people may enjoy your writing. The thing that’s sacrificed is any sense of a larger responsibility, and any aesthetic consistency. I don’t think anyone is following that model right now—just being a complete jerk.

Well, Rex Reed is still writing.
Ah. Well, you can also be a standard bearer, and insist that work doesn’t measure up to your high standards. But I think the art makes the standards. I’m not going to sit there and say, “This is the way you do Shakespeare.” I believe that every play establishes its own standards, and our job is to just evaluate it. But everybody’s looking for the formula for how to talk about culture so that people who don’t have any time to read want to read about it. Is there something beyond thumbs-up, thumbs-down criticism? I would hope there’s a way to talk about a theatre event in real time—meaning while it’s still going on—in a way that’s engaging, funny, witty, and evaluates the elements of the thing. But it’s like if you had a friend who was like, “Gee, are you working out? You look great. But that’s a terrible haircut.” Nobody wants that person around.
~ Time Out’s 17-Year Theatre Critic, David Cote, Upon His Exit

“Now I am awake to the world. I was asleep before. When they slaughtered Congress, we didn’t wake up. When they blamed terrorists and suspended the Constitution, we didn’t wake up either. They said it would be temporary. Nothing changes instantaneously. In a gradually heating bathtub you’d be boiled to death before you knew it.”
“The Handmaid’s Tale,” Bruce Miller