MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: 20th Century Women, Silence, Just a Sigh, Art Bastard, Blow-Up, MST3K and more

Because she doesn’t feel confident in her ability to raise a teenage son in such an environment, Dorothea entrusts the finer points to Abbie and Julie. Jamie probably would be better served if he apprenticed under William, but Dorothea sees him as someone who can’t be completely trusted around women. (Mills says he was raised in much the same way by his sister and other women in his mom’s orbit.) Neither has she shaken off the residue of growing into adulthood during the Eisenhower era, when parents were expected to be arbiters of their kids’ behavior. With the age of it-takes-a-village parenthood looming on the horizon, Dorothea needs as much help as Jamie. Although his expository narration occasionally eliminates the element of surprise, watching Bening negotiate the shoals of Dorothea’s life can be thrilling.

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The DVD Wrapup: Julieta, Sing, Kind of Murder, Nightless City, Multiple Maniacs, Cinema Paradiso, 45RPM, Ali & Nino, American Princesses, Split and more

While any new movie by Pedro Almodóvar is cause for celebration, Julieta stands out for several reasons. Upon its screening at Cannes, critics were quick to point out that it not only marked a return to the women-centric dramas for which he’s been associated for the entirety of his 40-year, 20-feature career. It’s also one of only a very few titles that he’s adapted from a literary source or shared a writing credit. Based on three stories by Canadian writer Alice Munro — “Chance,” “Soon” and “Silence,” from her 2004 collection “Runaway” – Almodóvar originally planned to adapt them as his first English-language screenplay, possibly starring Meryl Streep. He didn’t feel comfortable pursuing that,  and re-set the film for locations in Spain. If reviewers missed the director’s outrageous comedy and other trademark touches, loyalists savored his insider riffs on Spanish telenovelas, Hitchcockian tropes and film noir, as well as Julieta’s distinct visual style and complementary color palette.

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The DVD Wrapup: Fences, Elle, Passengers, Solace, Film/Not Film, Robert Flaherty, Drunk History and more

A few eyebrows were raised when playwright-screenwriter Tony Kushner (“Angels in America”) was hired to build on a draft written by Wilson before his death in 2005. Finally, though, Wilson was given sole authorship of the adapted screenplay, as well as an Academy Award nomination, while Kushner is credited as co-producer. It explains why Fences sometimes feels as if it were transplanted directly from the stage and the establishing exteriors are limited to a few shots of Troy and Bono working in the streets of Pittsburgh, his visit to downtown headquarters to be promoted to driver and a shot of kids playing stickball. The movie never feels stagebound or contrived, however. Wilson’s genius for turning conversations into poetry is as evident as ever.

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The DVD Wrapup: Moana, Brand New Testament, Weissensee Saga, 100 Streets, and more

Disney recruited a variety of experts on Polynesian history and culture to ensure authenticity and pre-empt what had become almost pro-forma accusations of cultural insensitivity in earlier features. Throughout the production process, revisions to everything from language and characterizations, to hair styles,, tattoos and ancillary products, were suggested and made. The result is a wonderfully entertaining family movie whose Oceania influences are reflected in the color palate, music, dance, dress, physical backdrops and customs.

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The DVD Wrapup: Moonlight, Doctor Strange, Arrival, Before Trilogy, Chronic and more

Moonlight is based on Tarell Alvin McCraney’s semi-autobiographical text, “In Moonlight Black Boys Look Blue,” written in 2003 to cope with his own mother’s death from AIDS. Never produced, it was ten years before Barry Jenkins (Medicine for Melancholy) – who grew up only a few blocks from McCraney, in Miami’s poverty- and crime-wracked Liberty City projects – was pushed to begin work on a second film. The characters are informed by people who influenced both men at various times in their lives. If Moonlight feels hyperreal, it’s because McCraney and Jenkins endured many of the same powerful forces as Chiron and Kevin.

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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