MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: Hunt for Wilderpeople, Skiptrace, Nerve, Vampire Ecstasy, Gored, Dark Water, The Id, Norman Lear and more

I’ve complained before about the lack of attention given to uniquely entertaining indie movies by distributors, even after being greeted with near-unanimous approval by audiences and critics at festivals. Indulge me while I endorse another film that has broad audience appeal but could easily get lost in the VOD-DVD shuffle. Set in a supremely scenic corner of Peter Jackson’s backyard (a.k.a., New Zealand), Taika Waititi’s coming-of-age Hunt for the Wilderpeople follows a state-raised Maori boy who’s nearly run out of options when it comes to being taken in by foster families and non-penal shelters for abandoned kids. Rotund, lazy and belligerent, Ricky (Julian Dennison) is handed over to a middle-age couple living on the edge of the “bush” – a term not at all representative of the environmentally diverse Tongariro National Park – at the center of the country’s North Island. If Waititi’s name sounds familiar, it’s for his peculiarly Kiwi entertainments as Eagle vs. Shark, “Flight of the Conchords” and What We Do in the Shadows. He’ll get his shot in the Major Leagues with – surprise! – the next chapter in the comic-book epic, “Thor: Ragnarok.” Let’s hope he doesn’t lose sight of the little picture.

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The DVD Wrapup: Through the Looking Glass, Café Society, Our Kind of Terror, Buying Democracy and more

If, as was the case in the 1970-80s, such writers and directors as Paul Mazursky, Michael Ritchie, Neil Simon, Herbert Ross, Elaine May, Nora Ephron, Mike Nichols, Francis Veber, and Larry Gelbart were still competing for the same adult audiences, Woody Allen wouldn’t stand so alone in the American filmmaking firmament. Neither would his detractors feel as if they have to make excuses for buying tickets to see his annual film.

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The DVD Wrapup: Infiltrator, Blood Father, Violent Cop, Sherpa, Les Cowboys, Hills Have Eyes and more

If it weren’t for the likelihood that American audiences already know as much about Pablo Escobar and the Medellín Cartel as they’ll ever care to learn, Brad Furman’s compelling drug-war drama, The Infiltrator, might have managed to break even at the box office. Instead, fine performances by Bryan Cranston (“Breaking Bad”) and Diane Kruger (“The Bridge”), as undercover U.S. Customs agents Robert Mazur and Kathy Ertz, will pretty much go for naught.

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The DVD Wrapup: Innocents, Swiss Army Man, Purge: Election Year, Diary of a Chambermaid, The Wailing, Homestretch and more

The silence and shame that accompanies the infant’s birth would suggest that the nun had been impregnated by the devil – or, perhaps, the Holy Ghost — and no word of it should leave the convent’s walls.

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Dretzka

Quote Unquotesee all »

“I’ve been pleasantly surprised by how many recappers, while clearly over their heads, are baseline sympathetic to finding themselves routinely unmoored, even if that means repeating over and over that this is closer to “avant-garde art” than  normal TV to meet the word count. My feed was busy connecting the dots to Peter Tscherkassky (gas station), Tony Conrad (the giant staring at feedback of what we’ve just seen), Pat O’Neill (bombs away) et al., and this is all apposite — visual and conceptual thinking along possibly inadvertent parallel lines. If recappers can’t find those exact reference points to latch onto, that speaks less to willful ignorance than to how unfortunately severed experimental film is from nearly all mainstream discussions of film because it’s generally hard to see outside of privileged contexts (fests, academia, the secret knowledge of a self-preserving circle working with a very finite set of resources and publicity access to the larger world); resources/capital/access/etc. So I won’t assign demerits for willful incuriosity, even if some recappers are reduced, in some unpleasantly condescending/bluffing cases, to dismissing this as a “student film” — because presumably experimentation is something the seasoned artist gets out of their system in maturity, following the George Lucas Model of graduating from Bruce Conner visuals to Lawrence Kasdan’s screenwriting.”
~ Vadim Rizov Goes For It, A Bit

“On the first ‘Twin Peaks,’ doing TV was like going from a mansion to a hut. But the arthouses are gone now, so cable television is a godsend — they’re the new art houses. You’ve got tons of freedom to do the work you want to do on TV, but there is a restriction in terms of picture and sound. The range of television is restricted. It’s hard for the power and the glory to come through. In other words, you can have things in a theater much louder and also much quieter. With TV, the quieter things have to be louder and the louder things have to be quieter, so you have less dynamics. The picture quality — it’s fine if you have a giant television with a good speaker system, but a lot of people will watch this on their laptops or whatever, so the picture and the sound are going to suffer big time. Optimally, people should be watching TV in a dark room with no disturbances and with as big and good a picture as possible and with as great sound as possible.”
~ David Lynch