MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: Blood Simple, Cat People, Shallows, Neon Demon, Sirk X 2, Warcraft, Kamikaze ’89 and more

Before Blood Simple hit the festival circuit in September, 1984, at Deauville and Toronto, it’s safe to say that Joel and Ethan Coen couldn’t get arrested in this town. On the advice of Sam Raimi, they knocked on doors in Los Angeles, New York, the Twin Cities and Austin, hats in hand, trying to interest someone, anyone in checking out their two-minute teaser for the film. It’s what filmmakers did in the days before Kickstarter. Any money they raised went straight to their headquarters in Texas, where a cinema community was in its infancy and a few dollars went a long way.

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The DVD Wrapup: Free State of Jones, Beauty & Beast, Bettie Page, Pele and more

At 139 minutes, Gary Ross’s frequently exhilarating, sometimes grueling Free State of Jones dramatizes one of the most unlikely and virtually unknown – outside Mississippi, anyway – chapters in Civil War history. Unlike Django Unchained, 12 Years a Slave and the recent re-adaptation of “Roots,” viewers averse to sadistic violence and racial epithets weren’t required to gird their loins for what was to come.

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The DVD Weekend: Popstar, Civil War, Bigger Splash, King Jack, Standing Tall, Marguerite, Marauders, Tower Records, Vaxxed, Raising Cain and more

It’s possible that Andy Samberg, Jorma Taccone and Akiva Schaffer — collectively known as Lonely Island – wrote their occasionally very funny music mockumentary, Popstar: Never Stop Never Stopping, thinking it could re-create the commercial, critical and pop-cultural success accorded This Is Spinal Tap. If so, they probably should have set their sights on someone less prone to self-parody than the ever-ridiculous Justin Bieber, who is more worthy of a three-minute sketch on “Saturday Night Live.” The great thing about Rob Reiner’s 1984 comedy was that viewers couldn’t always be sure when the band was making fun of heavy metal music, the musicians themselves, their fans or the industry. They still can’t. It isn’t unusual to hear a cut from Spinal Tap’s fictional “Smell the Glove” album on SiriusXM’s Underground Garage channel, played alongside the Rolling Stones, Iggy Pop, the Ramones and Patti Smith. Any memory of the songs on the Popstar soundtrack vaporizes within minutes of hearing them.

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The DVD Wrapup: Now You See Me, Bodyguard, Tale of Tales, Equals, Genius, Hockney, Lamb, Night Manager, South Park and more

An audience’s communal willingness to suspend disbelief while watching an illusionist perform live is a far more entertaining exercise than suspending disbelief in the service of a large-budget, effects-dependent movie, if only because a trick might occasionally go haywire or a normally docile tiger could unexpectedly attack its handler. We exist at a time in cinematic history when blunders and missteps are freely shown during the closing credits of a feature or as part of a DVD’s bonus package. The industry’s dependency on green screen and CGI technology, to achieve economic and creative goals, has become so commonplace that it’s possible to long for the days when stuntmen made us believe that A-list stars routinely risked everything to make us laugh, cry or tingle with excitement. The conceit behind Now You See Me and Now You See Me 2 requires us to accept the unlikely, if thoroughly appealing premise that a quartet of superstar magicians could combines their individual talents to play Robin Hood or save the world from powerful forces beyond our control.

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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