MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: Florida Project, Daddy’s Home 2, The Hero, Thirsty and more

By setting his closely observed humanist drama, The Florida Project, within the shadow of Disney World, Sean Baker (Tangerine) describes how a community of homeless, underemployed and frequently lawless single parents has taken root on one of the commercial strips leading into Uncle Walt’s greatest fantasy.

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The DVD Wrapup: Ballad of Lefty Brown, Wonder, Blades, Seijun Suzuki, Fellini, Hellraiser, Paradise and more

Set in the desolate plains of Montana, before the arrival of the railroad, The Ballad of Lefty Brown is an ode to the traditional revenge Western. When famed frontier lawman and Montana’s first elected senator Eddie Johnson (Peter Fonda) is brutally murdered – assassinated, to be precise — his longtime sidekick and friend, Lefty Brown (Bill Pullman), vows to avenge his death. The trouble is, Lefty is more than a tad over the hill and he’s outgunned by some ornery desperadoes.

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The DVD Wrapup: Only the Brave, LBJ, Suburbicon, Aida’s Secrets, Clouzot’s Inferno, Jackie Gleason and more

Joseph Kosinski’s stunningly effective Only the Brave is the rare disaster movie guaranteed to leave its audiences not just in tears, but in mourning for the victims, their families and community at large, as well.

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The DVD Wrapup: Last Flag, Westfront 1918, My Art, Viva L’Italia, Gothic, Viva Espana and more

At first glance, the best reason for picking up Last Flag Flying are the names on the promotional material. The Amazon Studios production was directed by Richard Linklater (Boyhood), adapted from a novel by co-screenwriter Darryl Ponicsan (Cinderella Liberty) and stars Steve Carell, Bryan Cranston and Laurence Fishburne. (Good enough for me, anyway.) Last Flag Flying also got extremely positive reviews. But Linklater’s heartfelt story about whether honor and the bonds of brotherhood still matter, played in no more than 110 domestic theaters, earning  just under a million dollars before shipping off to ancillary markets, where money figures are kept close to a studio’s vest. When it was released, just ahead of Veterans Day, many pundits predicted Last Flag Flying might produce an Oscar nomination, or two, but it was ignored … not “snubbed,” ignored. That’s what happens when a picture underperforms in the marketplace for no good reason.

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Dretzka

https://bestwatches.club/ on: The DVD Wrapup: Diamonds of the Night, School of Life, Red Room, Witch/Hagazussa, Tito & the Birds, Keoma, Andre’s Gospel, Noir

Gary Dretzka on: The DVD Wrapup: Sleep With Anger, Ralph Wrecks Internet, Liz & Blue Bird, Hannah Grace, Unseen, Jupiter's Moon, Legally Blonde, Willard, Bang … More

Gary Dretzka on: The DVD Wrapup: Bumblebee, Ginsburg, Buster, Silent Voice, Nazi Junkies, Prisoner, Golden Vampires, Highway Rat, Terra Formars, No Alternative … More

GDA on: The DVD Wrapup: Bumblebee, Ginsburg, Buster, Silent Voice, Nazi Junkies, Prisoner, Golden Vampires, Highway Rat, Terra Formars, No Alternative … More

Larry K on: The DVD Wrapup: Sleep With Anger, Ralph Wrecks Internet, Liz & Blue Bird, Hannah Grace, Unseen, Jupiter's Moon, Legally Blonde, Willard, Bang … More

Gary Dretzka on: The DVD Wrapup: Shoplifters, Front Runner, Nobody’s Fool, Peppermint Soda, Haunted Hospital, Valentine, Possum, Mermaid, Guilty, Antonio Lopez, 4 Weddings … More

gwehan on: The DVD Wrapup: Shoplifters, Front Runner, Nobody’s Fool, Peppermint Soda, Haunted Hospital, Valentine, Possum, Mermaid, Guilty, Antonio Lopez, 4 Weddings … More

Gary J Dretzka on: The DVD Wrapup: Peppermint, Wild Boys, Un Traductor, Await Instructions, Lizzie, Coby, Afghan Love Story, Elizabeth Harvest, Brutal, Holiday Horror, Sound & Fury … More

Gary J Dretzka on: The DVD Wrapup & Gift Guide III: Venom 4K, The Super, Snowflake, Marie Curie, Gamechangers, Who We Are Now, 40 Guns, De Palma-De Niro,, Starman and more

aniban83 on: The DVD Wrapup & Gift Guide III: Venom 4K, The Super, Snowflake, Marie Curie, Gamechangers, Who We Are Now, 40 Guns, De Palma-De Niro,, Starman and more

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This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.

“One of the fun things about seeing the new Quentin Tarantino film three months early in Cannes (did I mention this?) is that I know exactly why it’s going to make some people furious, and thus I have time to steel myself for the takes.

Back in July 2017, when it was revealed that Tarantino’s next project was connected to the Manson Family murders, it was condemned in some quarters as an insulting and exploitative stunt. We usually require at least a fig-leaf of compassion for the victims in true-crime adaptations, and even Tarantino partisans like myself – I don’t think he’s made a bad film yet – found ourselves wondering how he might square his more outré stylistic impulses with the depiction of a real mass murder in which five people and one unborn child lost their lives.

After all, it’s one thing to slice off with gusto a fictional policeman’s ear; it’s quite another to linger over the gory details of a massacre that took place within living memory, and which still carries a dread historical significance.

In her essay The White Album, Joan Didion wrote: “Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true.”

Early in Once Upon a Time in Hollywood, as Leonardo DiCaprio and Brad Pitt’s characters drive up the hill towards Leo’s bachelor pad, the camera cranes up gently to reveal a street sign: Cielo Drive. Tarantino understands how charged that name is; he can hear the Molotov cocktails clinking as he shoulders the crate.

As you may have read in the reviews from Cannes, much of the film is taken up with following DiCaprio and Pitt’s characters – a fading TV actor and his long-serving stunt double – as they amusingly go about their lives in Los Angeles, while Margot Robbie’s Sharon Tate is a relatively minor presence. But the spectre of the murders is just over the horizon, and when the night of the 9th finally arrives, you feel the mood in the cinema shift.

No spoilers whatsoever about what transpires on screen. But in the audience, as it became clear how Tarantino was going to handle this extraordinarily loaded moment, the room soured and split, like a pan of cream left too long on the hob. I craned in, amazed, but felt the person beside me recoil in either dismay or disgust.

Two weeks on, I’m convinced that the scene is the boldest and most graphically violent of Tarantino’s career – I had to shield my eyes at one point, found myself involuntarily groaning “oh no” at another – and a dead cert for the most controversial. People will be outraged by it, and with good reason. But in a strange and brilliant way, it takes Didion’s death-of-the-Sixties observation and pushes it through a hellfire-hot catharsis.

Hollywood summoned up this horror, the film seems to be saying, and now it’s Hollywood’s turn to exorcise it. I can’t wait until the release in August, when we can finally talk about why.

~ Robbie Collin