DVD Reviews Archive for December, 2017

The DVD Wrapup: The Year’s Top Titles, plus True Love Ways, Killing Gunther, Rock Docs, Unabomber and More

By Gary Dretzka - Thursday, December 28th, 2017

Titles that received a limited release in theaters or none at all make up my year-end list of DVDs and Blu-rays. Some are restored classics, while others are genre specimens that got lost in the crowd.

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The DVD Gift Guide 3: 100 Years Olympics Films, One Day at a Time, Monterey Pop, 4K UHD/HDR Action Editions, Coens, Nutcracker, Stronger, mother!, Leatherface… and more

By Gary Dretzka - Wednesday, December 20th, 2017

If the Olympics could bounce back from two world wars, there’s no reason to think peace isn’t be possible in our time. “100 Years of Olympic Films” spans 41 editions of the Olympic Games, from 1912-2012, in 53 surprisingly comprehensive and impeccably restored movies.

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The DVD Wrapup: Letter From An Unknown Woman, Despicable Me 3, Crucifixion, Maurizio Cattelan, A New Leaf, Silent Night and more

By Gary Dretzka - Thursday, December 7th, 2017

Letter From an Unknown Woman is an old-fashioned Hollywood melodrama I might have watched for a few minutes on television long ago and abandoned in favor of a baseball game. Black-and-white films, no matter how opulent or romantic, never looked the way they were supposed to on television. Even when Laserdiscs and TCM came, analog sets couldn’t do justice to the director and cinematographer’s shared vision. Scratches were left in disrepair, just as fuzz and other artifacts clung to prints as if intended. The digital revolution made restoration miracles possible, transforming tired old movies into the classics they actually are. High-resolution screens made everything even better. Even so, I might not have accepted the challenge of watching Letter From an Unknown Woman – its title is as inviting as a warm beer or cold cup of coffee – if I hadn’t already seen the Criterion Collection editions of Max Ophüls’ La ronde, Le Plaisir, The Earrings of Madame de … and Lola Montès, all of which were made after he returned to Europe after World War II. After absorbing the lessons dispensed in the bonus features, it was easy to appreciate this widely admired film from his surprisingly unproductive Hollywood sojourn. Now, at least, I knew what to look for in the upgraded Olive Signature release.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon