DVD & Blue Ray Archive for September, 2015

The DVD Wrapup: Beresford, Saint Laurent, Techine, Red Road, Dennis Hopper and more

Edward Woodward, Bryan Brown and Lewis Fitz-Gerald are terrifically effective in their portrayal of the defendants, never overplaying the hands dealt their characters or wringing unwarranted sympathy for them out of viewers. Thompson, one of the most popular of all Australian actors, was awarded the Best Supporting Actor prize at the Cannes Film Festival for his portrayal of Thomas, whose frustration is palpable from the time his motion requesting more time to prepare his case is quashed. Beresford’s greatest achievement, however, was opening up Kenneth G. Ross’ play, “Breaker Morant: A Play in Two Acts,” as a way of putting the defendants’ actions into the larger context of a long, brutal and imperialistic war.

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The DVD Wrapup: Blind Chance, Furious 7, Monkey Kingdom, Borowczyk and more

Blind Chance: Criterion Collection: Blu-ray At the time of his death in 1996, at the far-too-young age of 54, Polish filmmaker Krzysztof Kieslowski had become one of the most widely admired writer/directors on the planet. His name might not have meant much to mainstream audiences in Western Europe and United States, but, among critics and…

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The DVD Wrapup: Boulevard, D Train, Gemma Bovary, Good Kill, Felt, Aquarius, Haven and more

Ever since Jack Black broke into the spotlight some 15 years ago in HBO’s “Tenacious D: The Complete Master Works,” High Fidelity and Shallow Hal, the likable musician/actor has worked feverishly to remain in its direct glare. At 5-foot-6, it hasn’t always been easy to remain visible, but, in Hollywood, being short isn’t always the liability it is in, say, the NBA.

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DVD & Blue Ray

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

Quote Unquotesee all »

“The important thing is: what makes the audience interested in it? Of course, I don’t take on any roles that don’t interest me, or where I can’t find anything for myself in it. But I don’t like talking about that. If you go into a restaurant and you have been served an exquisite meal, you don’t need to know how the chef felt, or when he chose the vegetables on the market. I always feel a little like I would pull the rug out from under myself if I were to I speak about the background of my work. My explanations would come into conflict with the reason a movie is made in the first place — for the experience of the audience — and that, I would not want.
~  Christoph Waltz

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.