MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: T2 Trainspotting, Autopsy of Jane Doe, Dirty, Trespass, Monster Hunt and more

God bless Margaret Mitchell. When pressured for a sequel to the novel of Gone With the Wind, she claimed not to have a notion as to what may have happened to Scarlett and Rhett, and that she had “left them to their ultimate fate.” Ditto, François Truffaut, who, in 1974, turned down an opportunity to remake Casablanca. It took 14 years for writer-director Richard Curtis to acknowledge the clamor for a reunion sequel to his surprisingly resilient Love Actually. It runs all of 15 minutes, and was shown on British and American television two months ago, as part of one of his charity’s worldwide events. If fans of Grown Ups, Bridget Jones’s Diary and American Pie could be as easily sated, the world would be a better place. That said, however, as unnecessary sequels go, Danny Boyle’s T2 Trainspotting, isn’t bad.

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The DVD Wrapup: Marseille Trilogy, Life, Bird With Crystal Plumage, Lawnmower Man, Car Wash and more

Way back in the Pleistocene Age, when all film students and cineastes had to rely on for evidence of a film’s virtues were barely-watchable 16mm prints of vintage movies, it was sometimes difficult to appreciate what differentiated true classics from run-of-the-mill entertainments. Poorly maintained projectors occasionally caused the film stock to melt, while scratches and other defects turned dialogue into garble. That all changed with laserdiscs, DVDs and the concerted efforts of preservationists, who benefitted mightily from advanced digital technology. In his introduction to the Criterion Collection release of Marcel Pagnol’s “The Marseille Trilogy,” Bertrand Tavernier (‘Round Midnight) describes how his opinions about Marius (1931), Fanny (1932) and César (1936) changed after watching the 2015 restoration, conducted by Compagnie Méditerranénne de Film and the Cinémathèque Française. In short, the experience was revelatory.

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The DVD Wrapup: John Wick 2, 3 Generations, Frantz, Three Sisters, South Park 20 and more

Director Chad Stahelski and writer Derek Kolstad make it ridiculously easy for Wick to be found and even more ridiculously easy for the battle-hardened assassin to eliminate his pursuers using “gun fu,” a hybrid fighting style that combines martial arts and close-up gun play. That’s pretty much the whole story here. How John Wick differs from almost every other ultra-violent franchise extant, including the straight-to-video flicks of Jean-Claude Van Damme, Steven Seagal and Chuck Norris, is the attention paid to detail, nonstop action and imaginative death blows. Reaves, who, like Tom Cruise, performs most of his own stunts, is an attentive student of the martial arts.

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The DVD Wrapup: The Assignment, Beauty/Bambi, Land of Mine, Sense of an Ending, The Ticket, Gene Kelly, Heath Ledger and more

While you can’t say the story told in Walter Hill’s latest, The Assignment, was ripped from today’s headlines – Denis Hamill’s original screenplay is nearly forty years old, after all – the fact that a protagonist undergoes gender reassignment, however involuntary, is reasonably topical.

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Dretzka

Quote Unquotesee all »

“There’s a mass belief that if you’re texting, you’re somehow not interrupting the conversation—you’re not being rude. It’s an illusion of multitasking. I started filmmaking when people didn’t expect to have a phone on set, when it would’ve been seen as unprofessional to pull out a phone. Phones have become a huge distraction, and people work much better without them. At first it causes difficulty, but it really allows them to concentrate on what they’re doing. Everybody understands. I’ve had a lot of crews thank me. With a set, we’re trying to create a bubble of alternate reality.”
~ Christopher Nolan

“I’ve always loved films that approach sound in an impressionistic way and that is an unusual approach for a mainstream blockbuster, but I feel it’s the right approach for this experiential film. Many of the filmmakers I’ve admired over the years have used sound in bold and adventurous ways. I don’t agree with the idea that you can only achieve clarity through dialogue. Clarity of story, clarity of emotions—I try to achieve that in a very layered way using all the different things at my disposal—picture and sound.”
~ Christopher Nolan