MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: Quiet Place, Dietrich/Steinberg, A Ciambra, Maborosi, Chappaquiddick, Josephine Baker, Lean on Pete, Jazz Ambassadors, Blue Desert … More

The twist here involves the curious aftermath of a cataclysmic event that, in 2020, wipes out most of humanity. Its payload of sightless creatures, possessing hypersensitive hearing and seemingly impenetrable exoskeletons, has attacked and devoured anything that makes noise. How the Abbott family has managed to survive is anyone’s guess. The advantage they hold over other Earthlings appears to be that they’re conversant in American Sign Language.

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The DVD Wrapup: Blockers, Finding Your Feet, Ismael’s Ghosts, Don’t Grow Up, Last House on Left, Sartana, Striking Back, Sharks … More

Although the term, “cockblock,” has been traced to 1972, via “DawgSpeak!: The Slanguage Dictionary of the University of Georgia,” it wasn’t until it was used in Superbad (2007) that it took hold among young white scenesters. The original script was titled “Cherries,” which not only would have been too blatantly suggestive for the MPAA, but also more than a tad misleading …

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Dretzka

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“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