US composer Elliot Goldenthal will receive a lifetime achievement award at the upcoming 24th World Soundtrack Awards (Wsa), Film Fest Gent’s annual film music awards ceremony.
Goldenthal is most renowned for his Oscar, Golden Globe and Wsa-winning score for Frida, as well as scoring Interview With The Vampire, Heat, Batman Forever, Michael Collins, Titus and Across The Universe across his accomplished career.
He will be presented with his award on October 16 at the Wsa ceremony and concert in Ghent, in which a selection of Goldenthal’s work will be performed by the Brussels Philharmonic conducted by Dirk Brossé.
Goldenthal,...
Goldenthal is most renowned for his Oscar, Golden Globe and Wsa-winning score for Frida, as well as scoring Interview With The Vampire, Heat, Batman Forever, Michael Collins, Titus and Across The Universe across his accomplished career.
He will be presented with his award on October 16 at the Wsa ceremony and concert in Ghent, in which a selection of Goldenthal’s work will be performed by the Brussels Philharmonic conducted by Dirk Brossé.
Goldenthal,...
- 4/24/2024
- ScreenDaily
Feel that breeze? The dust? The grime? We’re still here in Fury 161, alright.
Join co-hosts Michael Roffman, Justin Gerber, McKenzie Gerber, and Rachel Reeves as they continue their coverage of David Fincher‘s Alien 3. Together, they finish their production notes by diving into Fincher’s career pre-Alien 3 and the hell that awaited him, the differences between the theatrical and the assembly cut, and Elliot Goldenthal‘s ambitious score.
Stream the second of three episodes below and stay tuned for Pt. 3 next Monday. Subscribe via Apple Podcasts, Stitcher, Spotify, RadioPublic, Acast, Google Podcasts, and RSS. New to the Halloweenies? Catch up with the gang by revisiting their essential episodes on past franchises such as Halloween, A Nightmare on Elm Street, Friday the 13th, Scream, The Evil Dead, and Chucky! This year? They’re looking to the stars with the Alien franchise.
You can also become a member of their Patreon,...
Join co-hosts Michael Roffman, Justin Gerber, McKenzie Gerber, and Rachel Reeves as they continue their coverage of David Fincher‘s Alien 3. Together, they finish their production notes by diving into Fincher’s career pre-Alien 3 and the hell that awaited him, the differences between the theatrical and the assembly cut, and Elliot Goldenthal‘s ambitious score.
Stream the second of three episodes below and stay tuned for Pt. 3 next Monday. Subscribe via Apple Podcasts, Stitcher, Spotify, RadioPublic, Acast, Google Podcasts, and RSS. New to the Halloweenies? Catch up with the gang by revisiting their essential episodes on past franchises such as Halloween, A Nightmare on Elm Street, Friday the 13th, Scream, The Evil Dead, and Chucky! This year? They’re looking to the stars with the Alien franchise.
You can also become a member of their Patreon,...
- 4/1/2024
- by Michael Roffman
- bloody-disgusting.com
Bob Rice, who teamed with Journey to release a groundbreaking rock music video game and represented top-notch composers like Steve Ouimette, Sascha Dikiciyan and Inon Zur in the industry, has died. He was 79.
Rice died Wednesday night of Copd at an assisted living facility in Santa Clara, California, publicist Greg O’Connor-Read told The Hollywood Reporter.
Rice created and executive produced what was perhaps the first rock video game, “Journey Escape.” Released by Data Age in 1982 for the Atari 2600 console and narrated by Casey Kasem, it featured band members Steve Perry, Neal Schon, Jonathan Cain, Ross Valory and Steve Smith as primitive digitized avatars.
Gamers were tasked in the instructions with guiding each musician “past hordes of Love-Crazed Groupies, Sneaky Photographers and Shifty-eyed Promoters to the safety of the Journey Escape Vehicle in time to make the next concert. Your mighty manager and loyal roadies are there to help, but the escape is up to you!
Rice died Wednesday night of Copd at an assisted living facility in Santa Clara, California, publicist Greg O’Connor-Read told The Hollywood Reporter.
Rice created and executive produced what was perhaps the first rock video game, “Journey Escape.” Released by Data Age in 1982 for the Atari 2600 console and narrated by Casey Kasem, it featured band members Steve Perry, Neal Schon, Jonathan Cain, Ross Valory and Steve Smith as primitive digitized avatars.
Gamers were tasked in the instructions with guiding each musician “past hordes of Love-Crazed Groupies, Sneaky Photographers and Shifty-eyed Promoters to the safety of the Journey Escape Vehicle in time to make the next concert. Your mighty manager and loyal roadies are there to help, but the escape is up to you!
- 6/8/2023
- by Mike Barnes
- The Hollywood Reporter - Movie News
There are a number of reasons why Joel Schumacher’s Batman Forever is not held in higher regard by fans of the Caped Crusader’s cinematic outings. Bat nipples, swapping Billy Dee Williams out for a scenery-chewing Tommy Lee Jones as Two-Face, and a sequence in which Chris O’Donnell’s Dick Grayson demonstrates his suitability for the role of Robin via some laundry-based karate all rank pretty highly.
Yet if there is one element of the movie that has stood the test of time more than anything, it’s the soundtrack. Batman Forever arrived at multiplexes in 1995, and it was a time when movie soundtracks were still a key part of the marketing machine. Few would play that game better either than the first one with Bat-nipples.
From Prince to Paupers
The power of the soundtrack album had already been demonstrated to fine funky effect in Tim Burton’s...
Yet if there is one element of the movie that has stood the test of time more than anything, it’s the soundtrack. Batman Forever arrived at multiplexes in 1995, and it was a time when movie soundtracks were still a key part of the marketing machine. Few would play that game better either than the first one with Bat-nipples.
From Prince to Paupers
The power of the soundtrack album had already been demonstrated to fine funky effect in Tim Burton’s...
- 3/31/2023
- by David Crow
- Den of Geek
1993 was an important year for Sylvester Stallone. After a long string of flops, Renny Harlin’s mountaineering epic Cliffhanger was the much-needed international hit Sly needed, with the film helping to reaffirm his position as one of the biggest action stars in Hollywood. But, before that movie had ever come out, Sly was shooting his second film of the year, once which, in the end, would make less money than Cliffhanger but would go on to achieve legendary cult status. Almost thirty years later, it remains Stallone’s most famous film featuring a character that isn’t named Rocky or Rambo. The movie, of course, is Demolition Man.
Flashback to twelve-year-old me walking into a movie theater in October of 1993 here in Montreal. Demolition Man would be my first Sly epic on the big screen. I vividly remember munching on my popcorn as the WB logo hit the screen while...
Flashback to twelve-year-old me walking into a movie theater in October of 1993 here in Montreal. Demolition Man would be my first Sly epic on the big screen. I vividly remember munching on my popcorn as the WB logo hit the screen while...
- 2/7/2023
- by Chris Bumbray
- JoBlo.com
The Academy of Motion Picture Arts and Sciences will be announcing its shortlist on Tuesday in nine Oscar categories. The categories and number of films to be revealed include documentary feature (15), documentary short subject (10), international feature (15), makeup and hairstyling (10), original score (15), original song (15), animated short film (10), live action short film (10) and visual effects (10).
The shortlist voting concluded on Feb. 5, and the remaining will move on to the official phase one voting, which will take place on March 5-9. The Oscar nominations will be announced on March 15, with the show scheduled to take place on April 25.
Down below, find the predictions for the shortlist (except for the shorts) with commentary on what to expect. Go to the Awards Circuit prediction pages of each category for the contenders’ full rankings and the credited artisans.
Makeup and Hairstyling
“Bill & Ted Face the Music” (United Artists Releasing) “Emma.” (Focus Features) “Hillbilly Elegy” (Netflix...
The shortlist voting concluded on Feb. 5, and the remaining will move on to the official phase one voting, which will take place on March 5-9. The Oscar nominations will be announced on March 15, with the show scheduled to take place on April 25.
Down below, find the predictions for the shortlist (except for the shorts) with commentary on what to expect. Go to the Awards Circuit prediction pages of each category for the contenders’ full rankings and the credited artisans.
Makeup and Hairstyling
“Bill & Ted Face the Music” (United Artists Releasing) “Emma.” (Focus Features) “Hillbilly Elegy” (Netflix...
- 2/8/2021
- by Clayton Davis
- Variety Film + TV
Nominees for the Hollywood Music in Media Awards are being unveiled Friday, with a packed slate of songs and scores in film, TV and videogame categories. Names in contention range from Alexandre Desplat, James Newton Howard and Trent Reznor/Atticus Ross as returning veterans in the score divisions to stars like Taylor Swift, H.E.R., Brandi Carlile, Travis Scott, Haim and Janelle Monae as nominated songwriters for feature film themes.
Kenny Loggins has been tagged for the HMMAs; Career Achievement in Music honor, which has previously gone to figures including Diane Warren, Smokey Robinson and composer John Debney.
Loggins will perform on the livestreamed awards show, which has been set for 7 p.m. Pt on Jan. 27, to be webcast on the Hmma site in lieu of the traditional live ceremony (which last year took place at Avalon in Hollywood). He’ll be joined in the performance ranks by Andra Day, Rita Wilson,...
Kenny Loggins has been tagged for the HMMAs; Career Achievement in Music honor, which has previously gone to figures including Diane Warren, Smokey Robinson and composer John Debney.
Loggins will perform on the livestreamed awards show, which has been set for 7 p.m. Pt on Jan. 27, to be webcast on the Hmma site in lieu of the traditional live ceremony (which last year took place at Avalon in Hollywood). He’ll be joined in the performance ranks by Andra Day, Rita Wilson,...
- 1/15/2021
- by Chris Willman
- Variety Film + TV
“I composed for the highway,” explains Oscar-winning composer Elliot Goldenthal (“Frida”) about his score for “The Glorias,” which explores and celebrates the life of feminist icon Gloria Steinem. Watch the exclusive video interview with Goldenthal above.
The film was directed by Julie Taymor (also Goldenthal’s longtime collaborator and partner) and stars Oscar winners Julianne Moore and Alicia Vikander, who play Steinem at different stages of her life as she rises to prominence as a leader of the women’s liberation movement. Co-writers Taymor and Sarah Ruhl based their screenplay on Steinem’s autobiography “My Life on the Road,” framing it as a road movie by weaving dramatic flashbacks of particular events in Steinem’s life with surreal scenes of four Glorias at different ages reminiscing together on a Greyhound bus.
See Exclusive Video Interview: Julie Taymor (‘The Glorias’)
“In that sense, I thought what is the quintessential Americana highway sound,...
The film was directed by Julie Taymor (also Goldenthal’s longtime collaborator and partner) and stars Oscar winners Julianne Moore and Alicia Vikander, who play Steinem at different stages of her life as she rises to prominence as a leader of the women’s liberation movement. Co-writers Taymor and Sarah Ruhl based their screenplay on Steinem’s autobiography “My Life on the Road,” framing it as a road movie by weaving dramatic flashbacks of particular events in Steinem’s life with surreal scenes of four Glorias at different ages reminiscing together on a Greyhound bus.
See Exclusive Video Interview: Julie Taymor (‘The Glorias’)
“In that sense, I thought what is the quintessential Americana highway sound,...
- 1/14/2021
- by Rob Licuria
- Gold Derby
Gloria Steinem is a towering figure in the women’s rights movement. Just in terms of activists, overall, she’d be up there. So, a biopic of her life is hardly a surprise. Hell, even a stylized one makes sense, considering her stylish nature, as well as the time she came about. However, it’s hard not to have the feeling after seeing The Glorias that filmmaker Julie Taymor was the wrong choice to helm the flick. This film, despite passionate performances, falls very flat. In making this so highly stylized and employing more than one actress to play Steinem, a lot of the effectiveness that would otherwise be here is lost. Simply put, this is a disappointment. The movie is a biopic of Glorias Steinem, but a highly stylized one, more in tone with something like I’m Not There than a traditional prestige picture. Simply put, it’s...
- 9/30/2020
- by Joey Magidson
- Hollywoodnews.com
“The Glorias,” now streaming on Amazon Prime, tells the story of feminist icon Gloria Steinem, her troubled home life as a child, her travels through the decades, and her rise to prominence as a leader in the women’s movement.
It fell to New York composer Elliot Goldenthal to musicalize that journey. The director, Julie Taymor, is his longtime partner, and he has scored all seven of her films, winning a 2002 Oscar for the Mexican-flavored music of “Frida.”
Surprisingly, electric guitars are featured throughout the score, although there are moments of jazz and orchestral textures as well. The composer was inspired by Taymor’s images of the bus carrying young Steinem out west. “The big sky, the stretched-out highway, and these really simple, major-chord guitar strums” felt to him like a modern-day version of Aaron Copland’s symphonic Americana of the mid-20th century.
Goldenthal turns to jazzier sounds, notably...
It fell to New York composer Elliot Goldenthal to musicalize that journey. The director, Julie Taymor, is his longtime partner, and he has scored all seven of her films, winning a 2002 Oscar for the Mexican-flavored music of “Frida.”
Surprisingly, electric guitars are featured throughout the score, although there are moments of jazz and orchestral textures as well. The composer was inspired by Taymor’s images of the bus carrying young Steinem out west. “The big sky, the stretched-out highway, and these really simple, major-chord guitar strums” felt to him like a modern-day version of Aaron Copland’s symphonic Americana of the mid-20th century.
Goldenthal turns to jazzier sounds, notably...
- 9/30/2020
- by Jon Burlingame
- Variety Film + TV
Julie Taymor’s ‘The Glorias’ Pivots From Theatrical Release, Sets Amazon Debut Prior To The Election
Exclusive: The Glorias is shifting from a theatrical release and heading straight to Amazon Prime Video. Directed by Julie Taymor, the non-traditional film chronicling the life of iconic activist Gloria Steinem is set to stream exclusively on Prime Video in U.S. and Canada and be available for purchase on all Electronic Sell-Through platforms starting September 30.
The Glorias debuted at Sundance earlier this year and was acquired by Roadside Attractions and Ld Entertainment shortly after its premiere. The pic was set for a September 25 theatrical release, but, as with all films, things remained up in the air due to the current landscape. Even so, Roadside & Ld shared Taymor and producers Lynn Hendee and Alex Saks’ passion for the film and felt that it should reach the widest possible audience prior to the election.
“The message of Gloria’s life and activism and spirit speak so strongly to the current moment,...
The Glorias debuted at Sundance earlier this year and was acquired by Roadside Attractions and Ld Entertainment shortly after its premiere. The pic was set for a September 25 theatrical release, but, as with all films, things remained up in the air due to the current landscape. Even so, Roadside & Ld shared Taymor and producers Lynn Hendee and Alex Saks’ passion for the film and felt that it should reach the widest possible audience prior to the election.
“The message of Gloria’s life and activism and spirit speak so strongly to the current moment,...
- 8/18/2020
- by Dino-Ray Ramos
- Deadline Film + TV
Michael Giacchino is set to join the likes of Danny Elfman, Hans Zimmer, Elliot Goldenthal, and more as one of the people who have created music for the Caped Crusader. Giacchino is set to create the soundtrack for Matt Reeves‘s The Batman, and according to the composer, he has free reign to do whatever the heck he […]
The post Michael Giacchino Has “Total Freedom” to Do Whatever He Wants With ‘The Batman’ Score appeared first on /Film.
The post Michael Giacchino Has “Total Freedom” to Do Whatever He Wants With ‘The Batman’ Score appeared first on /Film.
- 3/23/2020
- by Chris Evangelista
- Slash Film
Gloria Steinem’s biopic is officially hitting the road, securing domestic distribution from Ld Entertainment and Roadside Attractions.
Directed by Julie Taymor, “The Glorias” premiered in the official selection at this year’s Sundance Film Festival. It stars several generations of actresses taking on key phases in activist icon Steinem’s life, led by Julianne Moore and Alicia Vikander.
Ld and Roadside are planning on an early fall release ahead of the 2020 election, and promised a national promotional tour backed by Steinem. Endeavor Content represented filmmakers in the sale.
“With ‘The Glorias,’ Julie Taymor and her extraordinary cast paint a commanding portrait of an American leader, the remarkable Gloria Steinem, and also salute the millions of amazing women who have fought alongside Gloria for social change during the last half-century,” said Roadside Attractions co-heads Howard Cohen and Eric d’Arbeloff. “We are incredibly energized to bring this epic story to theaters this fall.
Directed by Julie Taymor, “The Glorias” premiered in the official selection at this year’s Sundance Film Festival. It stars several generations of actresses taking on key phases in activist icon Steinem’s life, led by Julianne Moore and Alicia Vikander.
Ld and Roadside are planning on an early fall release ahead of the 2020 election, and promised a national promotional tour backed by Steinem. Endeavor Content represented filmmakers in the sale.
“With ‘The Glorias,’ Julie Taymor and her extraordinary cast paint a commanding portrait of an American leader, the remarkable Gloria Steinem, and also salute the millions of amazing women who have fought alongside Gloria for social change during the last half-century,” said Roadside Attractions co-heads Howard Cohen and Eric d’Arbeloff. “We are incredibly energized to bring this epic story to theaters this fall.
- 2/13/2020
- by Matt Donnelly
- Variety Film + TV
With the box office less than hoped for, Warner Bros. decided it was time to entice parents and the children who stayed away from the darker Batman Returns. Despite the comic book source material of the late 1980s being grim and gritty, Warner saw the dollar signs after the success of Batman the Animated Series and wanted those younger viewers.
Batman Forever and Batman & Robin are out this week in newly restored 4k Uhd editions, part of Warner Home Entertainment’s 30th anniversary salute to Burton’s Batman. That and Batman Returns were reviewed yesterday.
Forever is transitional, keeping a lot of the menace from the previous films and replicating the two villains are better than one formula.
Desiring to go younger, the execs turned from Tim Burton to another visual stylist, Joel Schumacher. He was ordered to lighten things up and finally bring in Robin. Burton, star Michael Keaton,...
Batman Forever and Batman & Robin are out this week in newly restored 4k Uhd editions, part of Warner Home Entertainment’s 30th anniversary salute to Burton’s Batman. That and Batman Returns were reviewed yesterday.
Forever is transitional, keeping a lot of the menace from the previous films and replicating the two villains are better than one formula.
Desiring to go younger, the execs turned from Tim Burton to another visual stylist, Joel Schumacher. He was ordered to lighten things up and finally bring in Robin. Burton, star Michael Keaton,...
- 6/4/2019
- by Robert Greenberger
- Comicmix.com
Julie Taymor wasn’t happy with Sony’s 2007 release of her biggest-budget film to date, the $45-million “Across the Universe.” An original movie musical, sung live long before “Les Miserables” or “La La Land,” her film was a memorably inventive and visually rich narrative comprised of mini-music videos, from multiple Salma Hayeks dancing in a vets’ hospital in “Happiness is a Warm Gun” to Bono’s Merry Prankster singing “I Am the Walrus” at a psychedelic ’60s cocktail party.
However, it received love-hate reviews and the box office topped out at a disappointing $24.3 million domestic, partly because Taymor delivered a more sophisticated, diverse, and densely political musical than Revolution Studios’ Joe Roth and Sony had in mind. Now, Sony has agreed to something of a make-good, booking a sparkling 4K restoration via Fathom Events across the country on three nights, July 29 – August 1. It’s worth checking out on the big screen.
However, it received love-hate reviews and the box office topped out at a disappointing $24.3 million domestic, partly because Taymor delivered a more sophisticated, diverse, and densely political musical than Revolution Studios’ Joe Roth and Sony had in mind. Now, Sony has agreed to something of a make-good, booking a sparkling 4K restoration via Fathom Events across the country on three nights, July 29 – August 1. It’s worth checking out on the big screen.
- 7/27/2018
- by Anne Thompson
- Thompson on Hollywood
Julie Taymor wasn’t happy with Sony’s 2007 release of her biggest-budget film to date, the $45-million “Across the Universe.” An original movie musical, sung live long before “Les Miserables” or “La La Land,” her film was a memorably inventive and visually rich narrative comprised of mini-music videos, from multiple Salma Hayeks dancing in a vets’ hospital in “Happiness is a Warm Gun” to Bono’s Merry Prankster singing “I Am the Walrus” at a psychedelic ’60s cocktail party.
However, it received love-hate reviews and the box office topped out at a disappointing $24.3 million domestic, partly because Taymor delivered a more sophisticated, diverse, and densely political musical than Revolution Studios’ Joe Roth and Sony had in mind. Now, Sony has agreed to something of a make-good, booking a sparkling 4K restoration via Fathom Events across the country on three nights, July 29 – August 1. It’s worth checking out on the big screen.
However, it received love-hate reviews and the box office topped out at a disappointing $24.3 million domestic, partly because Taymor delivered a more sophisticated, diverse, and densely political musical than Revolution Studios’ Joe Roth and Sony had in mind. Now, Sony has agreed to something of a make-good, booking a sparkling 4K restoration via Fathom Events across the country on three nights, July 29 – August 1. It’s worth checking out on the big screen.
- 7/27/2018
- by Anne Thompson
- Indiewire
John Williams is on his 51st Oscar nomination, but the stats aren’t on his side to take home Best Original Score for “Star Wars: The Last Jedi.” That’s because the latest “Star Wars” flick is not up for Best Picture — a category 13 of the last 14 Best Original Score winners have contended in.
Two years ago, “The Hateful Eight,” which wasn’t up for Best Picture, brought Ennio Morricone his long overdue Oscar. Morricone beat scores from one Best Picture nominee, “Bridge of Spies,” and three non-Best Picture nominees, “Carol,” “Sicario” and “Star Wars: The Force Awakens,” which was composed by Williams. Before that, the last non-Best Picture nominee to win score was “Frida” (2002), composed by Elliot Goldenthal. It beat Best Picture nominee “The Hours” and three fellow non-Best Picture nominees, “Catch Me If You Can,” “Far From Heaven” and “Road to Perdition.”
See Oscars 2018: Will Radiohead’s...
Two years ago, “The Hateful Eight,” which wasn’t up for Best Picture, brought Ennio Morricone his long overdue Oscar. Morricone beat scores from one Best Picture nominee, “Bridge of Spies,” and three non-Best Picture nominees, “Carol,” “Sicario” and “Star Wars: The Force Awakens,” which was composed by Williams. Before that, the last non-Best Picture nominee to win score was “Frida” (2002), composed by Elliot Goldenthal. It beat Best Picture nominee “The Hours” and three fellow non-Best Picture nominees, “Catch Me If You Can,” “Far From Heaven” and “Road to Perdition.”
See Oscars 2018: Will Radiohead’s...
- 2/26/2018
- by Joyce Eng
- Gold Derby
Our Souls At Night
Starring Robert Redford and Jane Fonda
Directed by Ritesh Batra
It starts quietly, and ends without drama, melo- or otherwise. After The Lunchbox and its tad disappointing followup The Sense Of An Ending, you know how it is with Ritesh Batra. This is a filmmaker who loves silence and embraces it with all its inbuilt hazards and uncertainties.
We’ve seen him work wonders with wordless emotions in his earlier works. So no surprise if here he once again weaves a luminous lucidity into the looming stillness of a landscape that won’t judge mankind. Kindly or otherwise.
With Our Souls At Night, a deeply stirring gentle humane drama about two autumnal souls drifting together in ways that The Bridges Of Madison County could never fathom, Batra joins the ranks of the greatest living filmmakers. And we are not speaking of India alone. Batra is a...
Starring Robert Redford and Jane Fonda
Directed by Ritesh Batra
It starts quietly, and ends without drama, melo- or otherwise. After The Lunchbox and its tad disappointing followup The Sense Of An Ending, you know how it is with Ritesh Batra. This is a filmmaker who loves silence and embraces it with all its inbuilt hazards and uncertainties.
We’ve seen him work wonders with wordless emotions in his earlier works. So no surprise if here he once again weaves a luminous lucidity into the looming stillness of a landscape that won’t judge mankind. Kindly or otherwise.
With Our Souls At Night, a deeply stirring gentle humane drama about two autumnal souls drifting together in ways that The Bridges Of Madison County could never fathom, Batra joins the ranks of the greatest living filmmakers. And we are not speaking of India alone. Batra is a...
- 10/4/2017
- by Subhash K Jha
- Bollyspice
Rebecca Lea Aug 21, 2017
Our lookbacks at the screen adaptations of Stephen King arrive at Pet Sematary 2...
The film: Jeff (Edward Furlong) watches as his actress mother Renee (Darlanne Fluegel) is killed in a tragic accident on set. After the funeral, Jeff and his father Chase (an impressively turtlenecked Anthony Edwards) take up residence in her hometown of Ludlow, Maine to recover. Jeff befriends the stepson of the local Sheriff Gus (Clancy Brown) and learns of the history of the Creed family and their unfortunate demise. When Gus kills his stepson’s dog, Jeff goes with his friend to the Micmac burial ground, unleashing the menace that lurks in the reanimated dead once more.
See related Trust Me episode 2 review Trust Me episode 1 review
Following the success of Pet Sematary, Paramount were keen to capitalise by putting a sequel in motion. Director Mary Lambert was a huge part of that previous...
Our lookbacks at the screen adaptations of Stephen King arrive at Pet Sematary 2...
The film: Jeff (Edward Furlong) watches as his actress mother Renee (Darlanne Fluegel) is killed in a tragic accident on set. After the funeral, Jeff and his father Chase (an impressively turtlenecked Anthony Edwards) take up residence in her hometown of Ludlow, Maine to recover. Jeff befriends the stepson of the local Sheriff Gus (Clancy Brown) and learns of the history of the Creed family and their unfortunate demise. When Gus kills his stepson’s dog, Jeff goes with his friend to the Micmac burial ground, unleashing the menace that lurks in the reanimated dead once more.
See related Trust Me episode 2 review Trust Me episode 1 review
Following the success of Pet Sematary, Paramount were keen to capitalise by putting a sequel in motion. Director Mary Lambert was a huge part of that previous...
- 8/20/2017
- Den of Geek
No one quite puts together a heist scene like Steven Soderbergh, but he has plenty of company. Soderbergh is back to his heist roots this week with the release of “Logan Lucky,” which injects some “Ocean’s Eleven” style into a homegrown robbery cooked up by the Logan brothers (Channing Tatum and Adam Driver), who set out to drain a local speedway during one of its biggest race days of the entire year. Aided by a predictably motley crew, including the wild-eyed Joe Bang (Daniel Craig) and their talented driver sister (Riley Keough), the Logans’ plan is ambitious and fun, but it also seems like the kind of thing that only Soderbergh could cook up (it involves digging, vacuuming, cake and prosthetic arms, of all things).
Read More:‘Logan Lucky’ Review: Steven Soderbergh Returns From Retirement with a Silly Heist Movie That Has Real Soul
It’s a terrific entry...
Read More:‘Logan Lucky’ Review: Steven Soderbergh Returns From Retirement with a Silly Heist Movie That Has Real Soul
It’s a terrific entry...
- 8/17/2017
- by Kate Erbland
- Indiewire
Rebecca Lea Jul 3, 2017
Our journey through the screen adaptations of Stephen King's writing brings us to a trip to the Pet Sematary...
The film: Louis Creed (Dale Midkiff) takes a job as a doctor at the University of Maine, moving into a new home with his wife Rachel (Denise Crosby) and their two young children, Ellie (Blaze Berdahl) and Gage (Miko Hughes). Their neighbour Jud (Fred Gwynne) takes a shine to the family and Louis in particular. Jud takes them to the local ‘pet sematary’ where children bury their pets, animals killed by the trucks on the road running past the Creeds’ house. When tragedy strikes, the sinister significance of the Micmac burial ground near the cemetery becomes clear.
See related Jurassic World review Looking back at Jurassic Park
Pick one of the greatest novels in Stephen King’s body of work and a big key to its success...
Our journey through the screen adaptations of Stephen King's writing brings us to a trip to the Pet Sematary...
The film: Louis Creed (Dale Midkiff) takes a job as a doctor at the University of Maine, moving into a new home with his wife Rachel (Denise Crosby) and their two young children, Ellie (Blaze Berdahl) and Gage (Miko Hughes). Their neighbour Jud (Fred Gwynne) takes a shine to the family and Louis in particular. Jud takes them to the local ‘pet sematary’ where children bury their pets, animals killed by the trucks on the road running past the Creeds’ house. When tragedy strikes, the sinister significance of the Micmac burial ground near the cemetery becomes clear.
See related Jurassic World review Looking back at Jurassic Park
Pick one of the greatest novels in Stephen King’s body of work and a big key to its success...
- 6/28/2017
- Den of Geek
From the prolific pen of Stephen King, 1989’s Pet Sematary is a profound, emotional, and at times malevolent depiction of a family on the path towards a downward spiral. Notorious for being the book that King thought was too scary to be published, Mary Lambert’s dark adaptation horrified audiences across the globe for its bleak and grief-riddled imagery.
To celebrate the film’s 25th anniversary in 2015, Mondo Records dug deep into the catacombs and resurrected Pet Sematary for a limited vinyl release. As well as remastering Elliot Goldenthal’s soundscapes, the label commissioned Chicago artist Mike Saputo for the artwork. With a fine selection of sharp-edged skills, Saputo brought to life a collection of melancholic and foreboding visuals to cloak the gloomy, caliginous score held within the wax.
In regards to how the Pet Sematary cover art came to fruition, Saputo explains, “Mondo and I have been working together...
To celebrate the film’s 25th anniversary in 2015, Mondo Records dug deep into the catacombs and resurrected Pet Sematary for a limited vinyl release. As well as remastering Elliot Goldenthal’s soundscapes, the label commissioned Chicago artist Mike Saputo for the artwork. With a fine selection of sharp-edged skills, Saputo brought to life a collection of melancholic and foreboding visuals to cloak the gloomy, caliginous score held within the wax.
In regards to how the Pet Sematary cover art came to fruition, Saputo explains, “Mondo and I have been working together...
- 5/2/2017
- by Sam Hart
- DailyDead
Love him or hate him, Hans Zimmer has quite the presence in the world of cinema. If you're here, reading this, then you've definitely heard his music, whether it be that from Pirates of the Caribbean, Sherlock Holmes, Inception, The Dark Knight Trilogy, Man of Steel, Batman V Superman, and even The Amazing Spider-Man 2. And that's just a sampling of his work! Whew!
Though he's not the only composer to score the music for two different Batman actors -- Elliot Goldenthal wrote the music for Batman Forever starring Val Kilmer and Batman & Robin with George Clooney -- he is the only one to write two completely different scores for separate Batman Universes. Based on the quality of Batman Forever and its sequel, I'm assuming Goldenthal didn't really give character motivation much thought when writing his Batman theme, but Zimmer took it very seriously. Now that he's done with superhero themes forever (or for now.
Though he's not the only composer to score the music for two different Batman actors -- Elliot Goldenthal wrote the music for Batman Forever starring Val Kilmer and Batman & Robin with George Clooney -- he is the only one to write two completely different scores for separate Batman Universes. Based on the quality of Batman Forever and its sequel, I'm assuming Goldenthal didn't really give character motivation much thought when writing his Batman theme, but Zimmer took it very seriously. Now that he's done with superhero themes forever (or for now.
- 3/17/2017
- by Nick Doll
- LRMonline.com
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Some brilliant scores accompany movies that don't always deserve them. Here are 25 examples...
Can a film soundtrack rescue a movie that is otherwise a lost cause? One thing’s for sure: throughout the history of cinema, music has often been the redeeming feature of many an underwhelming movie. Here are 25 amazing film scores composed for films that, frankly, didn’t deserve them.
25) Meet Joe Black (Thomas Newman, 1998)
This somnambulistic three hour romantic drama should really feature an extra screen credit for star Brad Pitt’s fetishised blonde locks. Rising way above the torpid melodrama of the plot is one of Thomas Newman’s most hauntingly melodic and attractive scores, one that leaves his characteristic quirkiness at the door to paint a portrait of death that is both melancholy and hopeful. The spectacular 10-minute finale That Next Place remains one of Newman’s towering musical achievements.
24) Timeline (Brian Tyler,...
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Some brilliant scores accompany movies that don't always deserve them. Here are 25 examples...
Can a film soundtrack rescue a movie that is otherwise a lost cause? One thing’s for sure: throughout the history of cinema, music has often been the redeeming feature of many an underwhelming movie. Here are 25 amazing film scores composed for films that, frankly, didn’t deserve them.
25) Meet Joe Black (Thomas Newman, 1998)
This somnambulistic three hour romantic drama should really feature an extra screen credit for star Brad Pitt’s fetishised blonde locks. Rising way above the torpid melodrama of the plot is one of Thomas Newman’s most hauntingly melodic and attractive scores, one that leaves his characteristic quirkiness at the door to paint a portrait of death that is both melancholy and hopeful. The spectacular 10-minute finale That Next Place remains one of Newman’s towering musical achievements.
24) Timeline (Brian Tyler,...
- 3/29/2016
- Den of Geek
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The sensational, overlooked film scores from the years 1990 to 1999 that really are well worth digging out...
The movies went through tumultuous and exciting changes in the nineties. Quentin Tarantino exploded onto the scene with Reservoir Dogs, Generation X gave rise to slacker marvels like Clerks, and blockbusters like The Matrix put the awe back into special effects.
However, the 90s was also a sensational decade for film music, gifting us classics including the likes of Jurassic Park, Titanic, Total Recall, Braveheart and countless others. But the sheer quality of these soundtrack treasures shouldn’t overshadow those undervalued hidden gems that demonstrate the extraordinary range and versatility of our finest film composers, ones that may have passed you by. So here’s our selection of those incredible works: ranging from the earworming to the unsettling, the melodic to the chaotic, these are the scores that simply demand your attention.
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The sensational, overlooked film scores from the years 1990 to 1999 that really are well worth digging out...
The movies went through tumultuous and exciting changes in the nineties. Quentin Tarantino exploded onto the scene with Reservoir Dogs, Generation X gave rise to slacker marvels like Clerks, and blockbusters like The Matrix put the awe back into special effects.
However, the 90s was also a sensational decade for film music, gifting us classics including the likes of Jurassic Park, Titanic, Total Recall, Braveheart and countless others. But the sheer quality of these soundtrack treasures shouldn’t overshadow those undervalued hidden gems that demonstrate the extraordinary range and versatility of our finest film composers, ones that may have passed you by. So here’s our selection of those incredible works: ranging from the earworming to the unsettling, the melodic to the chaotic, these are the scores that simply demand your attention.
- 1/20/2016
- by simonbrew
- Den of Geek
Late last week, we had another shortlist hit the internet, courtesy of the Academy of Motion Picture Arts and Sciences (or AMPAS, as we all know by now). This one concerned which films were eligible to compete in the Oscar category of Best Original Score. Basically, the Academy decided that 112 movies had scores that met eligibility criteria, so they’re the ones who will be whittled down to the ultimate five Original Score nominees. Obviously, a group as large as this one doesn’t necessarily indicate anything about what Oscar voters might pick, but that won’t stop me from trying to do a bit of analysis, will it? Didn’t think so. So, let’s do it, let’s take a look at the Best Original Score contenders and see what Academy members might be likely to go for… As a point of reference, here are the most recent...
- 12/21/2015
- by Joey Magidson
- Hollywoodnews.com
Visionary director Julie Taymorcurates and hoststhe first National Sawdust concert tonight, November 6 at 730pm. Made In Brooklyn, an evening inspired by that artistically fertile corner of New York City, will feature music by Brooklyn-born composers including the great George Gershwin and Oscar-winners Aaron Copland, John Corigliano and Elliot Goldenthal. The concert will feature the world concert premiere of Goldenthal's String Quartet No. 1 'The Stone Cutters' performed by Flux Quartet, the 'Chaconne' from Corigliano's Academy Award-winning score for The Red Violin, performed by Tim Fain amp Stephen Gosling, and much more.
- 11/6/2015
- by BWW News Desk
- BroadwayWorld.com
As you may remember from my last column (and you better… you better), The Diabolical was well and truly “the s–t”! Well, guess what, creeps? That’s right, that flick’s co-writer/die-rector Alistair Legrand has stopped by the Crypt o’ Xiii to talk all about his foray into our beloved horror biz!
Famous Monsters. Welcome Big A! As this is yer first time at the rodeo known as the horror biz, what challenges did you face bringin’ The Diabolical to the screen?
Alastair Legrand. First of all, I can’t believe I’m talking to Famous Monsters; this is amazing. In response to your question, this was the best graduate film program I could have done, and a proper response would be ten pages long. The first main challenge was convincing the producers that I was the right man for the job—proving to them that I had...
Famous Monsters. Welcome Big A! As this is yer first time at the rodeo known as the horror biz, what challenges did you face bringin’ The Diabolical to the screen?
Alastair Legrand. First of all, I can’t believe I’m talking to Famous Monsters; this is amazing. In response to your question, this was the best graduate film program I could have done, and a proper response would be ten pages long. The first main challenge was convincing the producers that I was the right man for the job—proving to them that I had...
- 10/8/2015
- by DanielXIII
- FamousMonsters of Filmland
Visionary director Julie Taymor will curate and host the first National Sawdust concert on Friday, November 6 at 730pm. Made In Brooklyn, an evening inspired by that artistically fertile corner of New York City, will feature music by Brooklyn-born composers including the great George Gershwin and Oscar-winners Aaron Copland, John Corigliano and Elliot Goldenthal. The concert will feature the world concert premiere of Goldenthal's String Quartet No. 1 'The Stone Cutters' performed by Flux Quartet, the 'Chaconne' from Corigliano's Academy Award-winning score for The Red Violin, performed by Tim Fain amp Stephen Gosling, and much more.
- 10/8/2015
- by BWW News Desk
- BroadwayWorld.com
Taymor's latest Shakespeare film, shot by her "Frida" cinematographer Rodrigo Prieto, combines her 2014 acclaimed Brooklyn live theater production of "A Midsummer Night's Dream" with hand-held close-up filming. (See video highlights of my onstage Q & A with her below.) Shakespeare is Julie Taymor's touchstone. She comes back to him not only in countless stage productions but on film as well, from the exhilarating visual and violent "Titus" with Jessica Lange and Anthony Hopkins to Helen Mirren's incomparable take on Prospero in "The Tempest." Taymor also loves the Beatles ("Across the Universe"), Frida Kahlo ("Frida"), "The Lion King" (the $1 billion-grossing Tony-winning musical), opera (Mozart's "The Magic Flute," life partner Elliot Goldenthal's "Grendel") and her swooping version of the Broadway hit "Spider-Man: Turn Off the Dark"--for which she successfully sued to get...
- 6/5/2015
- by Anne Thompson
- Thompson on Hollywood
A celebration of film and television music was once again at the heart of Krakow’s Film and Music Festival, now in its eighth year.
Running from May 27-31, the event brought together more than 58 international composers - including Stephen Warbeck (Shakespeare in Love, Mon Roi), Ramin Djawadi (Game of Thrones), Jeff Beal (House of Cards), John Lunn (Downton Abbey) and Trevor Morris (The Borgias, The Tudors) – for a culmination of performances, panels and master classes.
“Composers are not often given the attention they deserve,” said Artistic Director Robert Piaskowski. “So we wanted to create a space that presents film music as art, and where audiences can come and appreciate a score’s symphonic sounds.”
Piaskowski is not alone in his interests. The festival now aligns itself as the start of the season, with similar musical events taking place in Tenerife and Cordoba in July and Vienna and Gent (that also hosts the World Soundtrack Awards) in October...
Running from May 27-31, the event brought together more than 58 international composers - including Stephen Warbeck (Shakespeare in Love, Mon Roi), Ramin Djawadi (Game of Thrones), Jeff Beal (House of Cards), John Lunn (Downton Abbey) and Trevor Morris (The Borgias, The Tudors) – for a culmination of performances, panels and master classes.
“Composers are not often given the attention they deserve,” said Artistic Director Robert Piaskowski. “So we wanted to create a space that presents film music as art, and where audiences can come and appreciate a score’s symphonic sounds.”
Piaskowski is not alone in his interests. The festival now aligns itself as the start of the season, with similar musical events taking place in Tenerife and Cordoba in July and Vienna and Gent (that also hosts the World Soundtrack Awards) in October...
- 6/3/2015
- ScreenDaily
From Muppet Treasure Island to Speed, we take a look at the 90s soundtracks that deserve another listen...
Ah, the 1990s. The decade that brought us The Lion King. Titanic. Quentin Tarantino. That wordless bathroom scene in Baz Luhrmann's Romeo + Juliet. Angelo Badalamenti's Twin Peaks. Duel of the Fates from Star Wars: The Phantom Menace. In the Mood for Love.
It was a good 10 years for film music, no doubt.
But scratch the surface of 1991 through 1999 and there are tons of good scores ready to spring a surprise on your ears. Some were attached to sorely underrated movies, others were overshadowed by wildly successful ones, and some have simply been forgotten in the passage of time.
Here, in no particular order, are the top 25 underappreciated film soundtracks from the 1990s.
1. Chaplin - John Barry
Okay, let's start with a big one. Richard Attenborough. Robert Downey Jr. John Barry.
Ah, the 1990s. The decade that brought us The Lion King. Titanic. Quentin Tarantino. That wordless bathroom scene in Baz Luhrmann's Romeo + Juliet. Angelo Badalamenti's Twin Peaks. Duel of the Fates from Star Wars: The Phantom Menace. In the Mood for Love.
It was a good 10 years for film music, no doubt.
But scratch the surface of 1991 through 1999 and there are tons of good scores ready to spring a surprise on your ears. Some were attached to sorely underrated movies, others were overshadowed by wildly successful ones, and some have simply been forgotten in the passage of time.
Here, in no particular order, are the top 25 underappreciated film soundtracks from the 1990s.
1. Chaplin - John Barry
Okay, let's start with a big one. Richard Attenborough. Robert Downey Jr. John Barry.
- 4/28/2015
- by simonbrew
- Den of Geek
Is the recent hint that the events of Alien 3 and Alien: Resurrection are to be overlooked a little too drastic?
This article contains spoilers for Alien 3 and Alien Resurrection.
If there’s one thing that is, for me, an unqualified triumph in Alien 3, it’s Elliot Goldenthal’s score. With its cacophonous drums and heart-rending strings, it soared where the film itself faltered.
But as I’ve argued many, many times on these pages, Alien 3 is itself a flawed masterpiece. Sure, it stepped roughly all over the story established in Aliens, but there were plans to kill off Newt and Hicks before first-time director David Fincher even came aboard.
Saddled with a film without an adequately finished script, an interfering studio and a looming release date, Fincher remained true to the gloomy vision laid out for him: Sigourney Weaver wanted the sequel to be her last,...
This article contains spoilers for Alien 3 and Alien Resurrection.
If there’s one thing that is, for me, an unqualified triumph in Alien 3, it’s Elliot Goldenthal’s score. With its cacophonous drums and heart-rending strings, it soared where the film itself faltered.
But as I’ve argued many, many times on these pages, Alien 3 is itself a flawed masterpiece. Sure, it stepped roughly all over the story established in Aliens, but there were plans to kill off Newt and Hicks before first-time director David Fincher even came aboard.
Saddled with a film without an adequately finished script, an interfering studio and a looming release date, Fincher remained true to the gloomy vision laid out for him: Sigourney Weaver wanted the sequel to be her last,...
- 2/26/2015
- by ryanlambie
- Den of Geek
Hollywood has no shortage of talented composers crafting mostly serviceable tunes for the next young adult literary adaptation or prestige awards tearjerker. But for every auteur like Hans Zimmer and John Williams, you have musical yes men pounding out ominous notes in anticipation of the next horror movie jump scare or making ratatat noise to underscore a superhero chase scene. The film world screams for diverse sounds, but is often left wanting when scores become interchangeable to feed the Hollywood machine. The current film decade is no different from any other in terms of talent, mediocrity, and ingenuity, but could always use a boost from professionals who bring specificity to the table. These five forgotten or diminished artists, each among them with varied yet singular skills, are screaming to be brought back into the Hollywood fold to create their signature sounds.
Elliot Goldenthal
One of the most prolific composers from the 90’s,...
Elliot Goldenthal
One of the most prolific composers from the 90’s,...
- 2/13/2015
- by Shane Ramirez
- SoundOnSight
Alien and Aliens are classics. But how do the other sequels, prequel and spin-offs compare? We try to rank them in descending order...
Ranking any franchise is a personal and difficult process, but the Alien series represents its own challenges. Were you more affected by the intimate shocks of the 1979 original, or the more action-led 1986 sequel? Were you impressed by Alien 3's commitment to its bleak tone, or irked by its soupy darkness?
You're sure to have your own opinions as to how the Alien movies should be ranked, though we'd wager that, like us, you'd place the Alien Vs Predator spin-offs quite far down the list. But then there's Ridley Scott's prequel, Prometheus, a film some might rank far above Jean-Pierre Jeunet's quirky Alien Resurrection, and perhaps even David Fincher's Alien 3.
Accepting, then, that the ranking below is very much down to personal taste,...
Ranking any franchise is a personal and difficult process, but the Alien series represents its own challenges. Were you more affected by the intimate shocks of the 1979 original, or the more action-led 1986 sequel? Were you impressed by Alien 3's commitment to its bleak tone, or irked by its soupy darkness?
You're sure to have your own opinions as to how the Alien movies should be ranked, though we'd wager that, like us, you'd place the Alien Vs Predator spin-offs quite far down the list. But then there's Ridley Scott's prequel, Prometheus, a film some might rank far above Jean-Pierre Jeunet's quirky Alien Resurrection, and perhaps even David Fincher's Alien 3.
Accepting, then, that the ranking below is very much down to personal taste,...
- 1/22/2015
- by ryanlambie
- Den of Geek
"He doesn’t like too many twists and turns in the music’s structure. He really responds to things that evolve very, very slowly. He wants music that the images, the edits, the dialogue can float above without it corresponding too much," "Heat" and "Public Enemies" composer Elliot Goldenthal told The Wall Street Journal in 2002 about working with Michael Mann. "With Michael, you have to be prepared to make a lot of changes. He changes his mind. He watches the movie everyday in total and makes adjustments so you have to know the job is making adjustments along the way as well." In other words, Mann is just as exacting on the score as he is on every other part of the process in making a movie, but for his latest film "Blackhat," that attitude has left at least one collaborator miffed. Composer Harry Gregson-Williams ("The Equalizer," "The Town") took...
- 1/13/2015
- by Kevin Jagernauth
- The Playlist
“Sometimes dead is better.” Nearly 25 years ago, viewers heard Jud Crandall’s wise quote when Pet Sematary was released to theaters. The memorable movie was based on Stephen King’s 1983 novel and directed by Mary Lambert off a screenplay by King, and now Mondo is giving fans of the film a Halloween treat with the release of the Pet Sematary soundtrack 2Xlp vinyl, along with The Omen striped variant vinyl LP.
The Pet Sematary and The Omen vinyl LPs, in addition to a special Pet Sematary poster, will be available to purchase at a random time tomorrow. Stay tuned to Mondo’s Twitter for the big announcement:
https://twitter.com/MondoNews
Press Release - “This Halloween we’re celebrating two horror cult classics, Pet Sematary and The Omen. In addition to the killer Pet Sematary poster by Mike Saputo, we’ll also be releasing the soundtrack on 2Xlp vinyl with the same artwork,...
The Pet Sematary and The Omen vinyl LPs, in addition to a special Pet Sematary poster, will be available to purchase at a random time tomorrow. Stay tuned to Mondo’s Twitter for the big announcement:
https://twitter.com/MondoNews
Press Release - “This Halloween we’re celebrating two horror cult classics, Pet Sematary and The Omen. In addition to the killer Pet Sematary poster by Mike Saputo, we’ll also be releasing the soundtrack on 2Xlp vinyl with the same artwork,...
- 10/30/2014
- by Derek Anderson
- DailyDead
Justin Ishmael of Mondo released an awesome tease via his Instagram yesterday. I suspect we'll see an official "announcement" later today or tomorrow (Thursday). He posted a picture of the package art you see here of a Pet Sematary vinyl that will be available to order on Friday. That's right, Elliot Goldenthal's score is being released. And that artwork is magnificent. Would love to get that on my wall.
The post Mondo to Release Goldenthal’s Pet Sematary Score on Vinyl appeared first on Shock Till You Drop.
The post Mondo to Release Goldenthal’s Pet Sematary Score on Vinyl appeared first on Shock Till You Drop.
- 10/29/2014
- by Ryan Turek
- shocktillyoudrop.com
Shakespeare is Julie Taymor's touchstone. She comes back to him not only in countless stage productions but on film as well, from the exhilarating visual and violent "Titus" with Jessica Lange and Anthony Hopkins to Helen Mirren's incomparable take on Prospero in "The Tempest." Taymor also loves the Beatles ("Across the Universe"), Frida Kahlo ("Frida"), "The Lion King" (the $1 billion-grossing Tony-winning musical), opera (Mozart's "The Magic Flute," life partner Elliot Goldenthal's "Grendel") and her swooping version of the Broadway hit "Spider-Man: Turn Off the Dark"--for which she successfully sued to get royalties. One of the high points of the recent Toronto International Film Festival was not only watching the world premiere of Taymor's latest Shakespeare film--shot by her "Frida" cinematographer Rodrigo Prieto, combining her recent acclaimed Brooklyn live theater...
- 9/15/2014
- by Anne Thompson
- Thompson on Hollywood
Most Academy Awards hand out five nominations apiece. Some awards only hand out three; a few years ago, the Academy opened up the Best Picture race to like a million nominees. But the specific number doesn’t really matter. Most races inevitably come down to some kind of face-off between two nominees: Frontrunner vs. Dark Horse, Beloved Veteran vs. Dynamic Newcomer, Megahit vs. Beloved Smaller Film, Dark Tale Of The Modern World vs. Sentimental Nostalgia Bait.
Each year, though there are races that defy any easy binary rendering. These are the categories that stacked almost too high with talent. Sometimes that’s clear right away,...
Each year, though there are races that defy any easy binary rendering. These are the categories that stacked almost too high with talent. Sometimes that’s clear right away,...
- 1/16/2014
- by Darren Franich
- EW.com - PopWatch
Theatre for a New Audience's inaugural production of A Midsummer Night's Dream, directed by multiple Tony Award-winner Julie Taymor with original music composed by Academy Award and Golden Globe-winning Elliot Goldenthal, opened on November 2 at the Theatre's newly-named building, Polonsky Shakespeare Center, 262 Ashland Place between Lafayette Avenue and Fulton Street, Brooklyn. BroadwayWorld has photos from the opening night festivities below...
- 11/4/2013
- by BWW News Desk
- BroadwayWorld.com
Founded in 1979 by its Artistic Director, Jeffrey Horowitz, Theatre for a New Audience's next act is about to begin with the opening of its Center for Shakespeare and Classical Drama in Brooklyn. The inaugural production is Julie Taymor's staging of A Midsummer Night's Dream by William Shakespeare with original music by Elliot Goldenthal. Previews begin October 19 for an opening on November 2. BroadwayWorld has a sneak peek at the cast and creative team in rehearsal below...
- 8/28/2013
- by BWW News Desk
- BroadwayWorld.com
Founded in 1979 by its Artistic Director, Jeffrey Horowitz, Theatre for a New Audience's next act is about to begin with the opening of its Center for Shakespeare and Classical Drama in Brooklyn. The inaugural production is Julie Taymor's staging of A Midsummer Night's Dream by William Shakespeare with original music by Elliot Goldenthal. Previews begin October 19 for an opening on November 2.
- 7/29/2013
- by BWW News Desk
- BroadwayWorld.com
Feature Ryan Lambie 8 May 2013 - 06:50
Eighteen years on, Heat is still an important, influential film. We look at how Michael Mann's research made for a powerful crime drama...
"This is based on observations. This is based on people I have met, people I've known, people I've sat with and talked to. Thieves, cops, killers. It's not derived from other cinema, it's based on research." Michael Mann
Cool, measured, melancholy and stylish, Michael Mann's Heat was a box office hit in 1995, and 18 years on, its impact can still be felt. A story about two weary men on either side of the law - one a cop married to his profession, the other a career criminal with no intention of going straight - Heat is also a movie about Los Angeles, in all its sparkly opulence and grimy malaise. Other directors have attempted to bottle some of Heat's...
Eighteen years on, Heat is still an important, influential film. We look at how Michael Mann's research made for a powerful crime drama...
"This is based on observations. This is based on people I have met, people I've known, people I've sat with and talked to. Thieves, cops, killers. It's not derived from other cinema, it's based on research." Michael Mann
Cool, measured, melancholy and stylish, Michael Mann's Heat was a box office hit in 1995, and 18 years on, its impact can still be felt. A story about two weary men on either side of the law - one a cop married to his profession, the other a career criminal with no intention of going straight - Heat is also a movie about Los Angeles, in all its sparkly opulence and grimy malaise. Other directors have attempted to bottle some of Heat's...
- 5/7/2013
- by ryanlambie
- Den of Geek
In celebration of choreographer Lar Lubovitch's 70th birthday in 2013, The Joffrey Ballet's season concludes this spring with the return of the native Chicagoan's three-act dance, Othello. Set to a score by Oscar winner Elliot Goldenthal, Othello uses an amalgam of classical ballet and modern dance to tell the dramatic story of the Venetian Moor, Othello, his beloved Desdemona and the conniving Iago, in a vibrant tale of passion, jealousy, ambition and betrayal. Live orchestral accompaniment is provided by The Chicago Philharmonic, led by Joffrey Music Director Scott Speck. The Joffrey Ballet presents Othello in ten performances only at the Auditorium Theatre of Roosevelt University, 50 East Congress Parkway, tonight, April 24 - May 5.
- 4/24/2013
- by BWW News Desk
- BroadwayWorld.com
The New York Foundation for the Arts will induct composer Elliot Goldenthal, filmmaker Mira Nair, visual artist Fred Wilson and author and co-director of the Acquavella Gallery Michael Findlay into the Nyfa Hall of Fame on April 23. The Nyfa Hall of Fame honors the work of artists to whom Nyfa provided critical support early in their careers and recognizes philanthropists and patrons of the arts who have had an impact on the city’s cultural community. The induction ceremony and dinner will take place at Espace, 635 West 42nd St. Story: IFC Nabs Mira Nair's 'Reluctant Fundamentalist' for North
read more...
read more...
- 3/21/2013
- by Gregg Kilday
- The Hollywood Reporter - Movie News
Above: A rack focus in Bullitt.
Trespassers Will Be Eaten
Perhaps a less eye-grabbing, but still “driving” title for this third Mubi soundtrack mix should be Shifting Gears...as such, it’s a free-falling, propulsive survey of scores focusing on the thriller in all of its manifestations: detective procedurals, bank heists, neo-noirs, spy films, psychodramas, giallos, chases, races, and sci-fi mind-games. Featured also are a few composers better known for their more famous musical projects. Police drummer Stewart Copeland’s metallic, rhythmic score for Rumble Fish, gamely taunts the self-conscious black and white street theatre of Francis Ford Coppola's film. So-called fifth Beatle, producer George Martin’s funky Shaft-influenced Live and Let Die score ushers in a more leisurely 70s-era James Bond, as incarnated by Roger Moore. Epic crooner visionary Scott Walker’s fatally romantic melodies for Leos Carax’s inventively faithful Melville adaptation Pola X is remarkably subdued and lush.
Trespassers Will Be Eaten
Perhaps a less eye-grabbing, but still “driving” title for this third Mubi soundtrack mix should be Shifting Gears...as such, it’s a free-falling, propulsive survey of scores focusing on the thriller in all of its manifestations: detective procedurals, bank heists, neo-noirs, spy films, psychodramas, giallos, chases, races, and sci-fi mind-games. Featured also are a few composers better known for their more famous musical projects. Police drummer Stewart Copeland’s metallic, rhythmic score for Rumble Fish, gamely taunts the self-conscious black and white street theatre of Francis Ford Coppola's film. So-called fifth Beatle, producer George Martin’s funky Shaft-influenced Live and Let Die score ushers in a more leisurely 70s-era James Bond, as incarnated by Roger Moore. Epic crooner visionary Scott Walker’s fatally romantic melodies for Leos Carax’s inventively faithful Melville adaptation Pola X is remarkably subdued and lush.
- 10/15/2012
- by Paul Clipson
- MUBI
Compilation albums are great fun, aren’t they? I’ve talked at some length before about them, and how they can be hit or miss with their intended audiences. Silva Screen Records’ latest offering – Super Themes – is no different, but it does contain a lot of really great tunes that the cult fan will appreciate having in their collection. While there are some moments where you just want to know what the criteria was in order to be picked, some are really spot-on.
The two-disk set is chock full of goodies spanning the last 40-plus years of superhero television and movies, and much of it is great. From the swinging sixties we have jazz composer Neal Hefti’s surf guitar theme for Batman, which is one of those guilty pleasures every geek can enjoy. In fact, this rounds out the first seven tracks of the album, all of which are...
The two-disk set is chock full of goodies spanning the last 40-plus years of superhero television and movies, and much of it is great. From the swinging sixties we have jazz composer Neal Hefti’s surf guitar theme for Batman, which is one of those guilty pleasures every geek can enjoy. In fact, this rounds out the first seven tracks of the album, all of which are...
- 9/20/2012
- Shadowlocked
With The Dark Knight Rises opening this week, it’s only appropriate to look back at the series’ first two entries as well as previous incarnations of the Batman. Compiling a top ten list of best scenes from a character that has spanned decades would appear a fruitless effort. With a wealth of rich images, performances, and set pieces, there are countless lists that could be made. This one tries best to objectively quantify ten great scenes from all seven theatrically released films, ordering them in terms of iconography and emotionality, but also according to the fundamentals of what makes a film scene work and why this indelible character is so enduring. Spoilers herein.
10. Batman Forever (1995)
“Why can’t you just die?!”
Joel Shumacher’s day-glo interpretation of the Dark Knight might not be the best place to start a list of great Batman scenes, but his Batman Forever, despite...
10. Batman Forever (1995)
“Why can’t you just die?!”
Joel Shumacher’s day-glo interpretation of the Dark Knight might not be the best place to start a list of great Batman scenes, but his Batman Forever, despite...
- 7/18/2012
- by Shane Ramirez
- SoundOnSight
HollywoodNews.com: Purely for fun, and purely because I was in the mood, I’ve compiled every relevant Batman musical theme since the 1960s. One live-action TV show, three film themes, and four animated series themes. A few things of note. First of all, that audio clip of Shirley Walker walking us through the Batman: The Animated Series theme is a treasure to behold, especially as she passed away several years ago (it’s the last cut on the two-disc Batman: The Animated Series score collection, which yes I do own).
Secondly, and this is what inspired me to compile these in the first place, whatever misgivings you may have about Batman Forever and Batman & Robin, Elliot Goldenthal’s music should not be discounted. His rip-roaring, more overtly comic book-ish theme is still a joy to listen to, successfully combining the lingering darkness from the Burton films with the more...
Secondly, and this is what inspired me to compile these in the first place, whatever misgivings you may have about Batman Forever and Batman & Robin, Elliot Goldenthal’s music should not be discounted. His rip-roaring, more overtly comic book-ish theme is still a joy to listen to, successfully combining the lingering darkness from the Burton films with the more...
- 7/7/2012
- by Scott Mendelson
- Hollywoodnews.com
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