For the entirety of my twenties and a chunk of my thirties, I knew the inebriated pleasure of debating the most trivial subjects known to humankind via what we used to call the "bar argument." Oh sure, people still knock back beers and fiercely debate the Hegelian messaging of the "Airport" franchise, but there was a time, a glorious time, when an elbow-tipping blowhard could loudly assert as fact that "The White Shadow" was an "All in the Family" spinoff, and no one could pull a rectangular device out of their pocket to authoritatively prove they're utterly full of horse pucky. Short of pulling Norman Jewison out from behind the jukebox for a McLuhan-esque correction, this dolt could double and triple down, and all you could do was yell at them. We've lost so much.
The best bar arguments tended to revolve around song lyrics, but movie quotes ran a very close second.
The best bar arguments tended to revolve around song lyrics, but movie quotes ran a very close second.
- 12/24/2023
- by Jeremy Smith
- Slash Film
So much of our collective love of horror is grounded in the visual: A splash of gore, an inventive creature design, an image so startling and unexpected it lingers long after the lights come back up. It’s only right for a genre that takes our greatest fears and gives them shape (perhaps even The Shape). But there’s a frightening power in the unseen as well, and many of horror’s crowning achievements have demonstrated that nothing sweetens a scare or ratchets the tension of a chilling set piece quite like a good instrumental score.
Horror has long been at the forefront of innovations in makeup, visual effects, sound design, and cinematography, and its impact on film and television music is no different. One of the earliest electronic instruments, the theremin, gave otherworldly texture to “The Spiral Staircase” and “The Thing From Another World” before its synthesizer and sequencer...
Horror has long been at the forefront of innovations in makeup, visual effects, sound design, and cinematography, and its impact on film and television music is no different. One of the earliest electronic instruments, the theremin, gave otherworldly texture to “The Spiral Staircase” and “The Thing From Another World” before its synthesizer and sequencer...
- 10/19/2022
- by Erik Adams
- Indiewire
Following a listening party on Monday, Deerhoof dropped a surprise new album, Love-Lore, via Joyful Noise Recordings.
Love-Lore was recorded live in the studio over a single afternoon at Rivington Rehearsal Studios in New York City. The album contains a medley of 43 covers, which range from the Velvet Underground to Krzysztof Penderecki.
Muindi Fanuel Muindi wrote an essay to accompany the release, while Benjamin Piekut wrote the liner notes. “Deerhoof is not the future of music and doesn’t want to be — they simply want to embrace you, here and now,...
Love-Lore was recorded live in the studio over a single afternoon at Rivington Rehearsal Studios in New York City. The album contains a medley of 43 covers, which range from the Velvet Underground to Krzysztof Penderecki.
Muindi Fanuel Muindi wrote an essay to accompany the release, while Benjamin Piekut wrote the liner notes. “Deerhoof is not the future of music and doesn’t want to be — they simply want to embrace you, here and now,...
- 9/28/2020
- by Angie Martoccio
- Rollingstone.com
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSRenowned composer Krzysztof Penderecki, best known to moviegoers for his work in The Shining, Wild at Heart, and The Exorcist, has died. In the Guardian's guide to Penderecki's inspirational catalog, Philip Clark writesPartnering with Art House Convergence and Janus Films, the Criterion Collection has announced an online fundraiser for art house cinemas impacted by the Covid-19 pandemic. Funds will be distributed among theatres according to needs, and will go towards helping theatres survive temporary closures. Recommended VIEWINGThis week, the late Albert Maysle's final film In Transit is available to stream for free. The film follows passengers travelling across America aboard Amtrak's Empire Builder. In his review of the film at the 2015 Sundance Film Festival, Tanner Tafelski writes that the film has a "go-west-young-man romanticism, and plenty of humanism." Isiah Medina—whose films Semi-Auto Colours,...
- 4/1/2020
- MUBI
Krzysztof Penderecki Dies: Modernist Composer’s Work Used In ‘The Exorcist’ And ‘The Shining’ Was 86
Krzysztof Penderecki, a Polish composer and conductor whose modernist works were on soundtracks for The Exorcist and The Shining, died Sunday at his home in Krakow. He was 86 and his death was confirmed by Andrzej Giza, the director of the Ludwig van Beethoven Association, founded by Penderecki’s wife, Elzbieta.
Penderecki was an avant-garde composer and prolific in his output. His resume includes eight symphonies, four operas, a requiem, and several concertos.
More from DeadlineAlan Merrill Dies Of Coronavirus: 'I Love Rock 'N' Roll' Songwriter Was 69David Schramm Dies: 'Wings' Star And Stage Actor Was 73Jim Houston Dies: Engineer And Two-Time Oscar Winner Was 61
The violinist Anne-Sophie Mutter and cellist Mstislav Rostropovich won Grammy Awards for their recordings of the Penderecki concertos in 1999 and 1988, respectively.
His compositions Threnody for the Victims of Hiroshima in 1960, Polymorphia in 1961 and the St. Luke Passion in 1966 are considered among his greatest works.
Film directors...
Penderecki was an avant-garde composer and prolific in his output. His resume includes eight symphonies, four operas, a requiem, and several concertos.
More from DeadlineAlan Merrill Dies Of Coronavirus: 'I Love Rock 'N' Roll' Songwriter Was 69David Schramm Dies: 'Wings' Star And Stage Actor Was 73Jim Houston Dies: Engineer And Two-Time Oscar Winner Was 61
The violinist Anne-Sophie Mutter and cellist Mstislav Rostropovich won Grammy Awards for their recordings of the Penderecki concertos in 1999 and 1988, respectively.
His compositions Threnody for the Victims of Hiroshima in 1960, Polymorphia in 1961 and the St. Luke Passion in 1966 are considered among his greatest works.
Film directors...
- 3/29/2020
- by Bruce Haring
- Deadline Film + TV
Krzysztof Penderecki, the influential Polish composer and conductor whose music was featured in “The Shining” and “Wild at Heart,” died Sunday at his home in Krakow, according to The New York Times. He was 86.
His death was confirmed by Andrzej Giza, director of the Ludwig van Beethoven Association, which was founded by Penderecki’s wife Elzbieta. The cause of death was not specified but a statement from Poland’s Ministry of Culture said he passed away “after a long and serious illness,” according to Reuters.
One of the most prolific and innovative composers of his era, Penderecki’s influence can be heard across multiple genres and generations. Radiohead’s Jonny Greenwood in particular has cited him as a profound influence on the group’s more avant work and his own soundtrack work.
Born in Dębica in 1933, Penderecki studied at the Academy of Music in Krakow and became an instructor there shortly after his graduation.
His death was confirmed by Andrzej Giza, director of the Ludwig van Beethoven Association, which was founded by Penderecki’s wife Elzbieta. The cause of death was not specified but a statement from Poland’s Ministry of Culture said he passed away “after a long and serious illness,” according to Reuters.
One of the most prolific and innovative composers of his era, Penderecki’s influence can be heard across multiple genres and generations. Radiohead’s Jonny Greenwood in particular has cited him as a profound influence on the group’s more avant work and his own soundtrack work.
Born in Dębica in 1933, Penderecki studied at the Academy of Music in Krakow and became an instructor there shortly after his graduation.
- 3/29/2020
- by Jem Aswad
- Variety Film + TV
Polish composer and conductor Krzysztof Penderecki, whose often disturbing and challenging avant-garde music has turned up in films from “The Shining” to “The Exorcist” and “Children of Men,” and as recently as the TV series “Twin Peaks: The Return,” died at his home in Krakow on Sunday, March 29. He was 86 years old.
Penderecki’s greatest influence on any modern composer can perhaps be found in the work of Johnny Greenwood, the lead guitarist and keyboardist of Radiohead and musician behind the soundtracks for films including Paul Thomas Anderson’s “There Will Be Blood,” “Phantom Thread” and “The Master,” as well as Lynne Ramsay’s “We Need to Talk About Kevin” and “You Were Never Really Here.”
More from IndieWireDavid Lynch Is Coming to Disney+ in April, So Get Your Children ReadyKyle MacLachlan 'Excited' for Villeneuve's 'Dune' to Differ From David Lynch's Vision
“What sad news to wake to. Penderecki...
Penderecki’s greatest influence on any modern composer can perhaps be found in the work of Johnny Greenwood, the lead guitarist and keyboardist of Radiohead and musician behind the soundtracks for films including Paul Thomas Anderson’s “There Will Be Blood,” “Phantom Thread” and “The Master,” as well as Lynne Ramsay’s “We Need to Talk About Kevin” and “You Were Never Really Here.”
More from IndieWireDavid Lynch Is Coming to Disney+ in April, So Get Your Children ReadyKyle MacLachlan 'Excited' for Villeneuve's 'Dune' to Differ From David Lynch's Vision
“What sad news to wake to. Penderecki...
- 3/29/2020
- by Ryan Lattanzio
- Indiewire
Krzysztof Penderecki, the influential Polish composer and conductor whose work featured in The Shining and The Exorcist, has died at the age of 86.
The Ludwig van Beethoven Association, founded by Penderecki’s wife, Elzbieta, confirmed to the Associated Press that Penderecki died at his home an Luslawice, Poland following “a long and serious illness.” Poland’s Ministry of Culture added that Penderecki was “one of the greatest Polish musicians,” noting that his death was “a great and irreparable loss.”
An avant-garde composer who exploded onto the classical music world in...
The Ludwig van Beethoven Association, founded by Penderecki’s wife, Elzbieta, confirmed to the Associated Press that Penderecki died at his home an Luslawice, Poland following “a long and serious illness.” Poland’s Ministry of Culture added that Penderecki was “one of the greatest Polish musicians,” noting that his death was “a great and irreparable loss.”
An avant-garde composer who exploded onto the classical music world in...
- 3/29/2020
- by Daniel Kreps
- Rollingstone.com
As fans of David Lynch and Mark Frost's Twin Peaks know, the show's music is as vital a character as the eccentric and enigmatic residents of the titular small town, and that was especially true when the show returned for its third season on Showtime in the fateful summer of 2017. On May 9th, Mondo Music’s Death Waltz Recording Company will take viewers back to the "place both wonderful and strange" with a vinyl release of the original soundtrack from Twin Peaks: Limited Event Series.
Press Release: Austin, TX – May 6, 2019 – Mondo Music’s Death Waltz Recording Company is thrilled to return to the town of Twin Peaks with their very own version of Season 3’s Limited Event Series Score featuring tracks by Angelo Badalamenti, Johnny Jewel, David Lynch and Dean Hurley. The Twin Peaks: Limited Event Series original soundtrack will be available for sale on Thursday, May 9 at MondoTees.
Press Release: Austin, TX – May 6, 2019 – Mondo Music’s Death Waltz Recording Company is thrilled to return to the town of Twin Peaks with their very own version of Season 3’s Limited Event Series Score featuring tracks by Angelo Badalamenti, Johnny Jewel, David Lynch and Dean Hurley. The Twin Peaks: Limited Event Series original soundtrack will be available for sale on Thursday, May 9 at MondoTees.
- 5/7/2019
- by Derek Anderson
- DailyDead
Portishead singer Beth Gibbons’ concert with the Polish National Radio Symphony — a performance of Henryk Górecki’s Symphony No. 3 — will be the focus of a live album due out in March.
Domino will release both an audio and video recording of Henryk Górecki: Symphony No. 3 (Symphony of Sorrowful Songs), which features Gibbons’ November 29th, 2014 performance with the orchestra conducted by Krzysztof Penderecki, Poland’s greatest living composer.
“Following an invitation to collaborate at the concert, Beth Gibbons undertook an intense preparation process, including tackling the challenge of learning the Polish...
Domino will release both an audio and video recording of Henryk Górecki: Symphony No. 3 (Symphony of Sorrowful Songs), which features Gibbons’ November 29th, 2014 performance with the orchestra conducted by Krzysztof Penderecki, Poland’s greatest living composer.
“Following an invitation to collaborate at the concert, Beth Gibbons undertook an intense preparation process, including tackling the challenge of learning the Polish...
- 1/30/2019
- by Daniel Kreps
- Rollingstone.com
Plenty of people have heard 20th century concert music solely because Stanley Kubrick smuggled it into his movies. The L.A. Philharmonic returned the favor over the weekend, by smuggling the director’s films into the concert hall.
“Stanley Kubrick’s Sound Odyssey” took the Phil, along with the Los Angeles Master Chorale, on a musical voyage through five chapters in the filmmaker’s diverse canon: “2001: A Space Odyssey,” “The Shining,” “Barry Lyndon,” “Eyes Wide Shut” and “A Clockwork Orange.” Selected excerpts of classical works he used in those films’ soundtracks accompanied their attendant scenes on a large screen above the Disney Hall stage.
Malcolm McDowell, who played the amoral lad Alex in “Clockwork,” hosted the evening. He seemed a little stiff when reading the boilerplate script, but far more at ease when he segued into telling ad lib anecdotes. Noting how “2001” struggled to find an audience until someone...
“Stanley Kubrick’s Sound Odyssey” took the Phil, along with the Los Angeles Master Chorale, on a musical voyage through five chapters in the filmmaker’s diverse canon: “2001: A Space Odyssey,” “The Shining,” “Barry Lyndon,” “Eyes Wide Shut” and “A Clockwork Orange.” Selected excerpts of classical works he used in those films’ soundtracks accompanied their attendant scenes on a large screen above the Disney Hall stage.
Malcolm McDowell, who played the amoral lad Alex in “Clockwork,” hosted the evening. He seemed a little stiff when reading the boilerplate script, but far more at ease when he segued into telling ad lib anecdotes. Noting how “2001” struggled to find an audience until someone...
- 11/25/2018
- by Tim Greiving
- Variety Film + TV
Twin Peaks Recap is a weekly column by Keith Uhlich covering David Lynch and Mark Frost's limited, 18-episode continuation of the Twin Peaks television series."Did you like that song?" the boy (Xolo Mariduena) asks the girl (Tikaeni Faircrest). His words are hesitant and tentative—tinged with naiveté, therefore open and earnest. "Yes," the girl replies, playing along with the courtship ritual. "I did like that song." Yet there's a sense in the slight pause between his question and her answer that she could say anything. That awkward dead space is filled with possibilities—positive, negative and in-between. And what excitement there is in that. This exchange comes toward the end of Part 8 of Mark Frost and David Lynch's revived Twin Peaks, though the quiet beauty of the moment is offset by the many horrors (and wonders) that precede it…and that, will indeed, follow it. It's easy...
- 6/26/2017
- MUBI
[Editor’s Note: The following contains spoilers from “Twin Peaks” Episode 8 titled “Part 8 – Gotta Light?”]
What was only hinted at in the third episode of “Twin Peaks” became a full-blown surrealistic experience in Sunday’s avant-garde “Part 8.”
Despite the experimental filmmaking and very little dialogue, the 50-minute bombardment of sound and fury coalesced into an intriguing origin story that promised a lot more sense in the contemporary story to come. Giving historical context to some of the things we’ve seen so far anchors the story in a way that it hasn’t been before. But this wasn’t just the story of one birth, but of many. Let’s break those and a few other theories down:
Read More: ‘Twin Peaks’ Review: Part 8 Aims for Maximum Weirdness and Succeeds
What About Bob?
The evil spirit (Frank Silva) we first met in the original series has been riding along with Evil Cooper (Kyle MacLachlan) in some sort of weird, mutual symbiosis. It seemed that...
What was only hinted at in the third episode of “Twin Peaks” became a full-blown surrealistic experience in Sunday’s avant-garde “Part 8.”
Despite the experimental filmmaking and very little dialogue, the 50-minute bombardment of sound and fury coalesced into an intriguing origin story that promised a lot more sense in the contemporary story to come. Giving historical context to some of the things we’ve seen so far anchors the story in a way that it hasn’t been before. But this wasn’t just the story of one birth, but of many. Let’s break those and a few other theories down:
Read More: ‘Twin Peaks’ Review: Part 8 Aims for Maximum Weirdness and Succeeds
What About Bob?
The evil spirit (Frank Silva) we first met in the original series has been riding along with Evil Cooper (Kyle MacLachlan) in some sort of weird, mutual symbiosis. It seemed that...
- 6/26/2017
- by Hanh Nguyen
- Indiewire
Sometimes, after witnessing a work of art that truly challenges and moves us, it's easier to be flippant than philosophical. So let's get the flippancy out of our system right away. After all, following an hour of television like last night's episode of Twin Peaks, people are bound to have questions. "What did I just witness?", for example. Or "How did David Lynch and Mark Frost convince Showtime to put that on the air?" Or "Does Trent Reznor have any idea how cool he looks in a pair of sunglasses?...
- 6/26/2017
- Rollingstone.com
This concludes my look back at 2015 with the newer new albums -- the ones with new, or at least contemporary, compositions, most by living composers.
1. Soloists/Warsaw Boys' Choir/Warsaw Philharmonic Male Choir/Warsaw Philharmonic Choir & Orchestra/Antoni Wit Penderecki: Magnificat; Kadisz (Naxos) Naxos' invaluable Krzysztof Penderecki (b. 1933) project continues to bring us conductor Antoni Wit's impeccable renderings of the Polish composer's complex and challenging music, especially excelling in the choral works, as here. One of the longer settings of this text (here nearly 45 minutes), Penderecki's Magnificat (1973-74) is also epic in sound, written in a high-avant style similar to his iconic St. Luke Passion, with extended singing effects (especially long glissandi, but also speaking and whispering), highly disjunctive melodies, extremely dense dissonance, and colorful cluster interjections by the orchestra, especially the winds.
It has a prominent if intermittent role for solo bassist (here Wojtek Gerlach), surprising...
1. Soloists/Warsaw Boys' Choir/Warsaw Philharmonic Male Choir/Warsaw Philharmonic Choir & Orchestra/Antoni Wit Penderecki: Magnificat; Kadisz (Naxos) Naxos' invaluable Krzysztof Penderecki (b. 1933) project continues to bring us conductor Antoni Wit's impeccable renderings of the Polish composer's complex and challenging music, especially excelling in the choral works, as here. One of the longer settings of this text (here nearly 45 minutes), Penderecki's Magnificat (1973-74) is also epic in sound, written in a high-avant style similar to his iconic St. Luke Passion, with extended singing effects (especially long glissandi, but also speaking and whispering), highly disjunctive melodies, extremely dense dissonance, and colorful cluster interjections by the orchestra, especially the winds.
It has a prominent if intermittent role for solo bassist (here Wojtek Gerlach), surprising...
- 1/12/2016
- by SteveHoltje
- www.culturecatch.com
Yet another European art film director tries his hand at cerebral Sci-fi. Alain Resnais' openly experimental movie uses a generic time travel framework to, what else, explore the phenomenon of memory. Suicidal melancholic Claude Rich is projected back exactly one year, for exactly one minute. What could go wrong? Je t'aime, je t'aime Blu-ray Kino Classics 1968 / Color /1:66 widescreen / 94 min. / Street Date November 10, 2015 / available through Kino Lorber / 29.95 Starring Claude Rich, Olga Georges-Picot, Anouk Ferjac. Cinematography Jean Boffety Film Editors Albert Jurgenson, Colette Leloup Original Music Krzysztof Penderecki Written by Jacques Sternberg, Alain Resnais Produced by Mag Bodard Directed by Alain Resnais
Reviewed by Glenn Erickson
My very first UCLA film class in the Fall of 1970 dispatched us to the Vagabond Theater to see a double bill of two 'art' movies that play fast and loose with narrative conventions: Luis Buñuel's Ensayo de un Crimen and Alain Resnais' Je t'aime,...
Reviewed by Glenn Erickson
My very first UCLA film class in the Fall of 1970 dispatched us to the Vagabond Theater to see a double bill of two 'art' movies that play fast and loose with narrative conventions: Luis Buñuel's Ensayo de un Crimen and Alain Resnais' Je t'aime,...
- 11/3/2015
- by Glenn Erickson
- Trailers from Hell
The Cinefamily Theatre in La has been known to turn up the spooky on Friday nights for their “Friday Night Frights” series. A few weekends ago, my current horror movie obsession, It Follows, was screened and Director David Robert Mitchell and Soundtrack Composer Disasterpeace (Rich Vreeland) made an appearance to answer questions and enjoy the show with fans. I was lucky enough to catch up with them before the film and get a few of my questions answered.
Famous Monsters. Thank you so much for taking the time to meet with me! I am a Huge fan of the film and am dying to hear where the inspiration for this story came from.
David Robert Mitchell. Well I’d been thinking about trying to make a horror film for a long time. I love horror movies and I just wanted to make one. The base idea for this came from...
Famous Monsters. Thank you so much for taking the time to meet with me! I am a Huge fan of the film and am dying to hear where the inspiration for this story came from.
David Robert Mitchell. Well I’d been thinking about trying to make a horror film for a long time. I love horror movies and I just wanted to make one. The base idea for this came from...
- 8/21/2015
- by Caroline Stephenson
- FamousMonsters of Filmland
Next Tuesday, David Robert Mitchell's It Follows comes out on Blu-ray from Anchor Bay Entertainment, RADiUS, and Dimension, and we caught up with composer Richard Vreeland, aka Disasterpeace, to discuss his superb score for the horror film.
I understand that writer/director David Robert Mitchell asked you to compose the music for It Follows after he played the 2012 video game Fez, which you also scored. How did he reach out to you and what were your initial thoughts about being offered to score a horror film?
Disasterpeace: David reached out by e-mail. I had a lot of thoughts! I had never scored a feature before, so I was excited about the opportunity, but also wanted to be really discerning before making such a big decision. It was tough to make a decision just based on the script, especially for something as unusual as It Follows' premise, but seeing...
I understand that writer/director David Robert Mitchell asked you to compose the music for It Follows after he played the 2012 video game Fez, which you also scored. How did he reach out to you and what were your initial thoughts about being offered to score a horror film?
Disasterpeace: David reached out by e-mail. I had a lot of thoughts! I had never scored a feature before, so I was excited about the opportunity, but also wanted to be really discerning before making such a big decision. It was tough to make a decision just based on the script, especially for something as unusual as It Follows' premise, but seeing...
- 7/11/2015
- by Derek Anderson
- DailyDead
With more than $8.5 million at the box office over four weekends, writer/director David Robert Mitchell's moody new horror film "It Follows" may not be a sleeper hit on the order of a bona fide blockbuster like "Scream," but since its release in only four theaters in early March, it's transformed into a tidy small-scale success that no one could have predicted just a month ago. Like Wes Craven's 1996 self-aware slasher, the critically-acclaimed fright flick is a true word-of-mouth sensation; it raked in so much money in limited release that distributor Radius-twc put off the film's planned VOD debut and gave it a wide release in over 1,600 theaters. To what can we attribute this unlikely good fortune? For starters, "It Follows" is good -- very good. Along with Jennifer Kent's masterful 2014 supernatural scare machine "The Babadook," "It Follows" has arrived like a breath of fresh air in...
- 4/8/2015
- by Chris Eggertsen
- Hitfix
You won't hear a more gorgeously freaky score this year than Mica Levi's unnerving, scratchy and altogether seductive soundtrack to Jonathan Glazer's "Under the Skin." Like the film, about an alien succubus among us and in the comely guise of Scarlett Johansson, the score is weird, atonal, discordant and something to get lost in. For comparison's sake, the score's closest companions may be the dissonant labyrinths of avant-garde composers Krzysztof Penderecki and Gyorgi Lygeti, used frequently by Stanley Kubrick in "The Shining" and "2001: A Space Odyssey." But Levi's work is its own alien, and at times sounds more than a bit like far-flung Morse code from outer space. English, in her mid-20s and classically trained, Levi typically plays under the moniker of her band Micachu and the Shapes. "Under the Skin" is her first film score. Levi, currently in Camden, England, spoke to me on the...
- 11/10/2014
- by Ryan Lattanzio
- Thompson on Hollywood
While Jon Brion and Michael Penn wrote some terrific film scores for Paul Thomas Anderson over the years ("Magnolia," "Punch Drunk Love"), it’s now fairly difficult to separate the filmmaker from his Jonny Greenwood-penned scores only two films deep into their collaboration. Greenwood obviously scored “The Master” and the upcoming “Inherent Vice,” but it all started with the Daniel Day-Lewis-starring “There Will Be Blood” that PTA saw as a type of horror. “We talked about how [Kubrick's] 'The Shining' had lots of Penderecki in it,” Greenwood told EW in 2008. “We figured the instruments should be contemporary to the turn of the last century, but not period music. Even though you know the sounds you're hearing are coming from very old technology, you can do things with the classical orchestra that unsettle you, that are slightly wrong, that have some kind of slightly sinister undercurrent.'' Anderson...
- 4/29/2014
- by Edward Davis
- The Playlist
While many horror fans came out of this year’s South By Southwest film festival giving Oculus and Exists top honors as far as the Midnighters programming went, there was another movie that I thought stole the show. A horror musical featuring a slasher villain who hates musical theaters and enjoys chopping up characters who could easily be featured on Glee? Sounds too good to be true, right? Wrong. Stage Fright is a hilarious horror comedy that blends thrashing metal, gross-out kills, and genre insanity in a way that had me begging for more, and that’s thanks to creators Jerome Sable and Eli Batalion.
After screening the film, I was able to sit down with writer/director/composer Jerome Sable and co-composer Eli Batalion, two very enthusiastic musicians whose personalities injected so much energy into Stage Fright. After talking to the duo, I could see why their film was...
After screening the film, I was able to sit down with writer/director/composer Jerome Sable and co-composer Eli Batalion, two very enthusiastic musicians whose personalities injected so much energy into Stage Fright. After talking to the duo, I could see why their film was...
- 4/7/2014
- by Matt Donato
- We Got This Covered
As always, there are biases at play here; my greatest interests are symphonic music, choral music, and piano music, so that's what comes my way most often. There are some paired reviews; the ranking of the second of each pair might not be the true, exact ranking, but it works better from a writing standpoint this way.
1. Brahms: Symphonies Nos. 1-4; Academic Festival Overture, Op. 80 Tragic Overture, Op. 81; Variations on a Theme by Haydn, Op. 56a; 3 Hungarian Dances; 9 Liebeslieder Waltzes; Intermezzi, Op. 116 No. 4 & Op. 117 No. 1 Gewandhausorchester/Riccardo Chailly (Decca)
It is not easy, at this point in recording history, to match the giants of the baton in a Brahms cycle, but Chailly has done it (this is my fiftieth Brahms cycle, and I have more than another fifty Brahms Firsts, and upwards of thirty each of the other symphonies outside those cycles, so I've got some basis for comparison...
1. Brahms: Symphonies Nos. 1-4; Academic Festival Overture, Op. 80 Tragic Overture, Op. 81; Variations on a Theme by Haydn, Op. 56a; 3 Hungarian Dances; 9 Liebeslieder Waltzes; Intermezzi, Op. 116 No. 4 & Op. 117 No. 1 Gewandhausorchester/Riccardo Chailly (Decca)
It is not easy, at this point in recording history, to match the giants of the baton in a Brahms cycle, but Chailly has done it (this is my fiftieth Brahms cycle, and I have more than another fifty Brahms Firsts, and upwards of thirty each of the other symphonies outside those cycles, so I've got some basis for comparison...
- 1/6/2014
- by SteveHoltje
- www.culturecatch.com
One of the better horror scores to hit this year is Roque Banos' score for the Fede Alvarez-directed Evil Dead remake.
Unseen Forces, based out of Portland, Oregon, is bringing the score to vinyl. Read on for the release news.
Unseen Forces is proud to present the complete motion picture soundtrack from Fede Alvarez’s incendiary 2013 reimagining of cult horror masterpiece the Evil Dead. Spanish composer Roque Baños dazzles with a crisp modern orchestral score that bows reverently toward such genre classics as Jerry Goldsmith’s The Omen Suite, Anton Webern and Krzysztof Penderecki’s creepy string movements from The Exorcist and Joseph LoDuca’s beautifully understated atmospherics for Sam Raimi’s original creation that launched the grisly Kandarian franchise and revolutionized the contemporary horror film with its startling velocity.
Read more...
Unseen Forces, based out of Portland, Oregon, is bringing the score to vinyl. Read on for the release news.
Unseen Forces is proud to present the complete motion picture soundtrack from Fede Alvarez’s incendiary 2013 reimagining of cult horror masterpiece the Evil Dead. Spanish composer Roque Baños dazzles with a crisp modern orchestral score that bows reverently toward such genre classics as Jerry Goldsmith’s The Omen Suite, Anton Webern and Krzysztof Penderecki’s creepy string movements from The Exorcist and Joseph LoDuca’s beautifully understated atmospherics for Sam Raimi’s original creation that launched the grisly Kandarian franchise and revolutionized the contemporary horror film with its startling velocity.
Read more...
- 9/6/2013
- shocktillyoudrop.com
Rome -- Bruno Bartoletti, an orchestra conductor who was associated with the Lyric Opera of Chicago for a half-century, and who championed modern opera as well as classic works, died on Sunday in his native Tuscany, a day before his 87th birthday.
The Maggio Musicale Fiorentino, where the maestro had served as artistic director from 1985 until 1991, said Bartoletti died in a Florence hospital after a long illness.
In a career that saw Bartoletti conduct well into his 80s – he directed Giacomo Puccini's `'Manon Lescaut"at Florence's Teatro Comunale in February 2011 – he served as the first music director of Chicago's Lyric Opera, starting as guest conductor there in 1956, when he was relatively unknown.
Bartoletti was 30 when the then 2-year-old Lyric Opera needed a replacement conductor for Giuseppe Verdi's `'Il Trovatore" in 1956. Baritone Tito Gobbi endorsed him, and Bartoletti made his American debut with the company. He conducted...
The Maggio Musicale Fiorentino, where the maestro had served as artistic director from 1985 until 1991, said Bartoletti died in a Florence hospital after a long illness.
In a career that saw Bartoletti conduct well into his 80s – he directed Giacomo Puccini's `'Manon Lescaut"at Florence's Teatro Comunale in February 2011 – he served as the first music director of Chicago's Lyric Opera, starting as guest conductor there in 1956, when he was relatively unknown.
Bartoletti was 30 when the then 2-year-old Lyric Opera needed a replacement conductor for Giuseppe Verdi's `'Il Trovatore" in 1956. Baritone Tito Gobbi endorsed him, and Bartoletti made his American debut with the company. He conducted...
- 6/9/2013
- by AP
- Huffington Post
Two years in the making, the suitably cinematic score to the smash Tomb Raider game reboot became an anticipated release in itself, after award-winning composer Jason Graves (Dead Space 3), debuted the suite “Survivor” at last year's Spike Video Game Awards during the unveiling of game footage. You can watch the performance of that piece at the end of this article, but first let's get to the score itself, which is actually kind of revolutionary in the world of game music – and a surprise treat for horror fans as well, which even non-gamers will appreciate. Graves has cited classical composers Prokofiev and Tchaikovsky as his greatest influences, but he also revealed in a behind-the-scenes interview that the game's scariest cues were inspired by modern composer Krzysztof Penderecki, whose most frightening works have been used in legendary horror films like The Shining and The Exorcist. The cues most reminiscent of Penderecki's unsettling,...
- 3/19/2013
- by Gregory Burkart
- FEARnet
My usual explanation in this space: I am especially interested in piano and choral music, plus symphonies, so that’s what I get the most promos of. Other stuff obviously gets through my filters, but the percentages of what comes in inevitably affect what comes out, i.e. this list. That said, in terms of number of centuries spanned, rather than genres or formats or whatever, I think I'm covering as much or more musical territory than most critics. By the way, look for a shorter list of my favorite classical reissues of 2012, to follow in a day or two.
1. Tokyo String Quartet, Jon Manasse, Jon Nakamatsu Brahms: Piano Quintet, Clarinet Quintet (Harmonia Mundi) There were recordings this year that were more important in terms of bringing new repertoire to light, or featuring young artists, or bringing classical into the 21st century, or being more controversially newsworthy. Examples of all of those follow.
1. Tokyo String Quartet, Jon Manasse, Jon Nakamatsu Brahms: Piano Quintet, Clarinet Quintet (Harmonia Mundi) There were recordings this year that were more important in terms of bringing new repertoire to light, or featuring young artists, or bringing classical into the 21st century, or being more controversially newsworthy. Examples of all of those follow.
- 1/2/2013
- by SteveHoltje
- www.culturecatch.com
Versatile guitarist who had a million-selling hit with Love Is Strange
Mickey Baker, who has died aged 87, was one of the most versatile and prolific guitarists of his era. During the 1950s, any producer making R&B or rock'n'roll records in New York would have Baker's name in his contacts book, and he played on innumerable sessions for Atlantic, Savoy and other labels, accompanying vocal groups including the Drifters and the Coasters and blues singers such as Champion Jack Dupree, Nappy Brown and Lavern Baker. Among the many hit records to which he made original and distinctive contributions were Ruth Brown's (Mama) He Treats Your Daughter Mean, the Coasters' I'm a Hog for You and Joe Turner's Shake, Rattle and Roll.
Inspired by the successful model of the guitarist Les Paul and the singer Mary Ford, he formed a duo with the singer Sylvia Vanderpool (later Sylvia Robinson...
Mickey Baker, who has died aged 87, was one of the most versatile and prolific guitarists of his era. During the 1950s, any producer making R&B or rock'n'roll records in New York would have Baker's name in his contacts book, and he played on innumerable sessions for Atlantic, Savoy and other labels, accompanying vocal groups including the Drifters and the Coasters and blues singers such as Champion Jack Dupree, Nappy Brown and Lavern Baker. Among the many hit records to which he made original and distinctive contributions were Ruth Brown's (Mama) He Treats Your Daughter Mean, the Coasters' I'm a Hog for You and Joe Turner's Shake, Rattle and Roll.
Inspired by the successful model of the guitarist Les Paul and the singer Mary Ford, he formed a duo with the singer Sylvia Vanderpool (later Sylvia Robinson...
- 12/2/2012
- by Tony Russell
- The Guardian - Film News
Did you know how many horror movies that have completely forgettable music will still end up with a soundtrack available for purchase? I can't tell you the amount of times I've gotten to the end of the credits of a terrible movie and saw "Soundtrack available on ________ records."
I can't help but be baffled that someone would want all those songs in one place. Other times, the soundtrack available for a horror movie is a compilation of songs either written for or inspired by the movie written by artists that reflect the tone of the movie. Other times, however, the music that accompanies a horror film so perfectly matches the tone of the movie you can't imagine any other music being sufficient, and even listening to that music on its own is enough to give you the creeps. The following soundtracks are the ones that no matter where you are or what you're doing,...
I can't help but be baffled that someone would want all those songs in one place. Other times, the soundtrack available for a horror movie is a compilation of songs either written for or inspired by the movie written by artists that reflect the tone of the movie. Other times, however, the music that accompanies a horror film so perfectly matches the tone of the movie you can't imagine any other music being sufficient, and even listening to that music on its own is enough to give you the creeps. The following soundtracks are the ones that no matter where you are or what you're doing,...
- 9/17/2012
- by The Wolfman
- DreadCentral.com
As the New York Times so aptly observed this weekend, eerie '80s synths score are synonymous with the German experimental electronic music group Tangerine Dream. And yet, the group and their sinister and moody but anonymous modulations were never celebrated as loudly in that era (or since) compared to the works of other '80s synth-heavy composers like Harold Faltermeyer ("Top Gun," "Fletch," "Beverly Hills Cop"), John Carpenter ("Escape from New York," "The Thing"), Vangelis ("Chariots of Fire," "Blade Runner") and even Giorgio Moroder ("Scarface," "Cat People").
The cinephile-friendly arthouse BAMCinematek tries to right that wrong this week in Brooklyn with their retrospective series centered around the atmospheric and ambient scores written and performed by Tangerine Dream. And so to help celebrate the undervalued composers we give you five of their best scores. Make sure to head to Bam this week if you're in the New York area (and hurry,...
The cinephile-friendly arthouse BAMCinematek tries to right that wrong this week in Brooklyn with their retrospective series centered around the atmospheric and ambient scores written and performed by Tangerine Dream. And so to help celebrate the undervalued composers we give you five of their best scores. Make sure to head to Bam this week if you're in the New York area (and hurry,...
- 6/5/2012
- by Edward Davis
- The Playlist
By Paul Kilbey
Adapted from a piece on I Care If You Listen
I really want to like Jonny Greenwood’s compositional career. Radiohead were the first band I loved, and I think that they helped shape my musical tastes and aesthetics more than most composers. I recall excitedly pre-ordering Greenwood’s first classical foray, the soundtrack to the film Bodysong, as soon as I found out about it back in 2003. And I was thrilled the following year by the announcement that he had been recruited to the position of Composer in Residence for the BBC Concert Orchestra. This was evidence, to my excitable teenage brain, that pop music was real, that it could achieve things, that my school music teacher was wrong. Pop music mattered. There was a composer in Radiohead.
Jonny Greenwood
I know that’s not how it works, now. Pop music does matter, but composers have nothing to do with it.
Adapted from a piece on I Care If You Listen
I really want to like Jonny Greenwood’s compositional career. Radiohead were the first band I loved, and I think that they helped shape my musical tastes and aesthetics more than most composers. I recall excitedly pre-ordering Greenwood’s first classical foray, the soundtrack to the film Bodysong, as soon as I found out about it back in 2003. And I was thrilled the following year by the announcement that he had been recruited to the position of Composer in Residence for the BBC Concert Orchestra. This was evidence, to my excitable teenage brain, that pop music was real, that it could achieve things, that my school music teacher was wrong. Pop music mattered. There was a composer in Radiohead.
Jonny Greenwood
I know that’s not how it works, now. Pop music does matter, but composers have nothing to do with it.
- 5/31/2012
- Huffington Post
Kinoteka Polish Film Festival, London, Belfast & Edinburgh
The presence of Juliette Binoche gets this festival off to a high-profile start – she plays a French journalist studying teenage prostitution in Elles. And the prestige continues with Agnieszka Holland's Oscar-nominated In Darkness, a Schindler's List-like wartime drama. More interesting though are Suicide Room, an angsty teen movie partly set in a virtual world, and Courage, mixing biblical themes with modern social commentary. This being the festival's 10th anniversary, there are also classic Polish films selected by 10 top film-makers, including Mike Leigh, Andrzej Wajda and Nicolas Roeg, plus – in London – a special concert with master composer Krzysztof Penderecki and Radiohead's Jonny Greenwood.
Various venues, Thu to 22 Mar
Bev Springs 2012, London
Sadly there weren't sufficient funds to mount a full-blown Bird's Eye View festival this year, but the event won't be kept down. So, to mark International Women's Day, there's an evening of international shorts,...
The presence of Juliette Binoche gets this festival off to a high-profile start – she plays a French journalist studying teenage prostitution in Elles. And the prestige continues with Agnieszka Holland's Oscar-nominated In Darkness, a Schindler's List-like wartime drama. More interesting though are Suicide Room, an angsty teen movie partly set in a virtual world, and Courage, mixing biblical themes with modern social commentary. This being the festival's 10th anniversary, there are also classic Polish films selected by 10 top film-makers, including Mike Leigh, Andrzej Wajda and Nicolas Roeg, plus – in London – a special concert with master composer Krzysztof Penderecki and Radiohead's Jonny Greenwood.
Various venues, Thu to 22 Mar
Bev Springs 2012, London
Sadly there weren't sufficient funds to mount a full-blown Bird's Eye View festival this year, but the event won't be kept down. So, to mark International Women's Day, there's an evening of international shorts,...
- 3/3/2012
- by Steve Rose
- The Guardian - Film News
Radiohead guitarist Jonny Greenwood holds Krzysztof Penderecki, Poland's foremost contemporary composer, in awe. And the feelings are very much mutual, the pair explain
It wasn't the most auspicious of meetings: "I shook his hand after a concert like a sad fan-boy." Jonny Greenwood, Radiohead's creative catalyst, one of the world's great guitarists, and floppy-haired pin-up boy for the musically adventurous even in his early 40s, is talking about 78-year-old Polish classical composer Krzysztof Penderecki. For most of the musical world, it would be Greenwood who had the star quality rather than Poland's most eminent living composer – even if Penderecki did break creative barriers in the 1950s and 60s that are still rocking Greenwood's world. In fact, Greenwood's obsessive enthusiasm for Penderecki's music, especially his still radical early work, has brought the sounds of musical modernism to new audiences in ways Penderecki could only dream of.
Greenwood's fan-boyism has also...
It wasn't the most auspicious of meetings: "I shook his hand after a concert like a sad fan-boy." Jonny Greenwood, Radiohead's creative catalyst, one of the world's great guitarists, and floppy-haired pin-up boy for the musically adventurous even in his early 40s, is talking about 78-year-old Polish classical composer Krzysztof Penderecki. For most of the musical world, it would be Greenwood who had the star quality rather than Poland's most eminent living composer – even if Penderecki did break creative barriers in the 1950s and 60s that are still rocking Greenwood's world. In fact, Greenwood's obsessive enthusiasm for Penderecki's music, especially his still radical early work, has brought the sounds of musical modernism to new audiences in ways Penderecki could only dream of.
Greenwood's fan-boyism has also...
- 2/24/2012
- by Tom Service
- The Guardian - Film News
To call avant garde composer Krzysztof Penderecki an influence on Radiohead guitarist Jonny Greenwood would be an understatement, but what has been so thrilling to watch is how the alternative-guitarist-turned-film-scorer has created his own bold, creative voice outside the band with his orchestral work. Well, Penderecki and Greenwood have at long last combined forces for an album which will illustrate musically both the passing of the torch from one generation to another, and yet also, how Penderecki's work continues to stand tall today. Performed by the Aukso Ensemble, the disc will feature compositions presented last September at the European Congress of Culture in Wrocław, Poland. Afterwards, the duo hit Kraków’s Alvernia Studios to lay down the tunes. So what are you going to hear? There will be 1960s works by Penderecki -- "Threnody for the Victims of Hiroshima" and "Polymorphia (for 48 strings)" (heard in "The Exoricst")...
- 1/21/2012
- The Playlist
Richard D. James, better known by his avant-garde electronic music moniker Aphex Twin, has continued to prove he's on the cutting edge of things. Like Radiohead's Jonny Greenwood, he recently collaborated with Polish composer Krzysztof Penderecki and was commissioned to compose music for Poland's European Culture Congress — but as Pitchfork points out, James took things a step further while in Wroclaw, Poland, and controlled a full orchestra with a remote control.
- 11/29/2011
- Pastemagazine.com
Last year I previewed all 33 of the Oscar qualifying animated shorts that were up for consideration for the Academy Awards and this year I have 12 additional shorts to consider and I have found either the full short, a clip, a trailer or an image from all but two of the contending shorts and put them together in this one article. These shorts have all been screened for members of the Short Films and Feature Animation Branch of the Academy of Motion Picture Arts and Sciences who will soon vote on the ultimate short list that will be in contention for an Oscar nomination. Last year ten films made the list. Take a look over the next eight pages and see which ones stand out to you. There are a few instances where you may have to click a link to watch a clip and, in one instance, to watch the entire film.
- 11/16/2011
- by Brad Brevet
- Rope of Silicon
Polish composer Krzysztof Penderecki's wild, terrifying, and imaginative music has soundtracked horror classics from The Shining to The Exorcist
If you've seen Stanley Kubrick's The Shining more than a couple of times, or if you've been renewing your relationship with William Friedkin's The Exorcist over Halloween; if you've enjoyed Martin Scorsese's Shutter Island or marvelled at David Lynch's Inland Empire, I've got news for you. You're a Penderecki fan – even if you've never heard of Poland's most famous living composer.
You see, in all those movies, Krzysztof Penderecki's wild, terrifying, and imaginative music, some of the most radical of the 20th century, is used as the musical manifestation of the subconscious. Penderecki's music is the sonic realisation of the horrifying and disturbing realms of imagination that directors like Kubrick or Lynch have created on film. Along with the music of György Ligeti, Penderecki's early...
If you've seen Stanley Kubrick's The Shining more than a couple of times, or if you've been renewing your relationship with William Friedkin's The Exorcist over Halloween; if you've enjoyed Martin Scorsese's Shutter Island or marvelled at David Lynch's Inland Empire, I've got news for you. You're a Penderecki fan – even if you've never heard of Poland's most famous living composer.
You see, in all those movies, Krzysztof Penderecki's wild, terrifying, and imaginative music, some of the most radical of the 20th century, is used as the musical manifestation of the subconscious. Penderecki's music is the sonic realisation of the horrifying and disturbing realms of imagination that directors like Kubrick or Lynch have created on film. Along with the music of György Ligeti, Penderecki's early...
- 11/4/2011
- by Tom Service
- The Guardian - Film News
The best of your comments on the latest films and music
The things you learn from threads never cease to amaze. Last week, Stephen Thrower wrote about horror movie soundtracks, to general approval. Among the approvers was Chosty, who noted "something I've come across fairly recently: a selection of tracks by Coil that were composed – but ultimately unused – for the original Hellraiser film. Definitely a giallo vibe to them." Up popped PhelimONeill with a nice piece of additional information: "You may not be surprised to hear that group's ranks included, for a spell, one Stephen Thrower."
"I've always loved horror soundtracks for being able to bring evocative and experimental music to a much wider audience than usual," said Chewtoy. "Not everyone who saw a horror film from the 1970s will have heard of the name Krzysztof Penderecki, but they will definitely have heard his music, if not countless soundtrack composers emulating his string glissandi.
The things you learn from threads never cease to amaze. Last week, Stephen Thrower wrote about horror movie soundtracks, to general approval. Among the approvers was Chosty, who noted "something I've come across fairly recently: a selection of tracks by Coil that were composed – but ultimately unused – for the original Hellraiser film. Definitely a giallo vibe to them." Up popped PhelimONeill with a nice piece of additional information: "You may not be surprised to hear that group's ranks included, for a spell, one Stephen Thrower."
"I've always loved horror soundtracks for being able to bring evocative and experimental music to a much wider audience than usual," said Chewtoy. "Not everyone who saw a horror film from the 1970s will have heard of the name Krzysztof Penderecki, but they will definitely have heard his music, if not countless soundtrack composers emulating his string glissandi.
- 8/25/2011
- by Michael Hann
- The Guardian - Film News
'Maska' ('Mask') is the latest animated film of Quay brothers, directors and puppet animators, with the music composed by Krzysztof Penderecki. The screenplay is the adaptation of Stanisław Lem's novel of the same title. The action of "Maska" is set in a technologically developed but, at the same time, feudal world. Beautiful Duenna was created in order to carry out certain mission. However, she will be forced to choose between accomplishing the task she was created for and love.
- 1/11/2011
- by noreply@blogger.com (Flicks News)
- FlicksNews.net
Stephen and Timothy Quay, better known as The Brothers Quay, have adapted a Stanislaw Lem (“Solaris”) story into a new animated short. Well, not entirely new, since the film technically premiered last year, but it will be making the rounds of the festival circuit in 2011, and a trailer has been unleashed upon the world. Here’s a synopsis: “Maska” (“Mask”) is the latest animated film of Quay brothers, directors and puppet animators, with the music composed by Krzysztof Penderecki. The screenplay is the adaptation of Stanisław Lem’s novel of the same title. The action of “Maska” is set in a technologically developed but, at the same time, feudal world. Beautiful Duenna was created in order to carry out certain mission. However, she will be forced to choose between accomplishing the task she was created for and love. The trailer is beautiful, surreal, and spooky, and though I’m not...
- 1/11/2011
- by Brent McKnight
- Beyond Hollywood
The Brothers Quay has released a crazy looking trailer for a new short stop-motion animated film called Maska, which is based on on work by Solaris author Stanislaw Lem. I love the films art direction, and the trailer shows off a weirdly beautiful world.
Here's the synopsis for the short film:
Maska (Mask) is the latest animated film of Quay brothers, directors and puppet animators, with the music composed by Krzysztof Penderecki. The screenplay is the adaptation of Stanisław Lem's novel of the same title. The action of "Maska" is set in a technologically developed but, at the same time, feudal world. Beautiful Duenna was created in order to carry out certain mission. However, she will be forced to choose between accomplishing the task she was created for and love.
Check out the trailer for the film below and tell us what you think!
Source: Twitch (http://twitchfilm.com/news/2011/01/the-brothers-quay-do-stanislaw-lem-in-maska.
Here's the synopsis for the short film:
Maska (Mask) is the latest animated film of Quay brothers, directors and puppet animators, with the music composed by Krzysztof Penderecki. The screenplay is the adaptation of Stanisław Lem's novel of the same title. The action of "Maska" is set in a technologically developed but, at the same time, feudal world. Beautiful Duenna was created in order to carry out certain mission. However, she will be forced to choose between accomplishing the task she was created for and love.
Check out the trailer for the film below and tell us what you think!
Source: Twitch (http://twitchfilm.com/news/2011/01/the-brothers-quay-do-stanislaw-lem-in-maska.
- 1/11/2011
- by Venkman
- GeekTyrant
I didn't think there was much that could make me more excited for a new short film by Stephen and Timothy Quay (aka The Brothers Quay). But then I saw this trailer for Maska, and discovered that the film is not only a new animated short from the brothers, but seemingly one of their most colorful pieces of work, and an adaptation of a Stanislaw Lem story to boot. Check it out after the break. Here's a brief synopsis of the film, which is based on Lem's story The Mask, commonly found in the compilation Mortal Engines: "Maska" ("Mask") is the latest animated film of Quay brothers, directors and puppet animators, with the music composed by Krzysztof Penderecki. The screenplay is the adaptation of Stanis?aw Lem's novel of the same title. The action of "Maska" is set in a technologically developed but, at the same time, feudal world. Beautiful...
- 1/11/2011
- by Russ Fischer
- Slash Film
Shutter Island (Blu-Ray)Paramount Home Enetertainment2010/Rated R/ 137 minsList Price $39.98 – Available June 8, 2010After a controversial delay in release last fall, Martin Scorsese and Leonardo DiCaprio's fourth collaboration Shutter Island has finally arrived. Only an acclaimed master like the man who brought us Raging Bull and Taxi Driver would be bold enough to adapt Dennis Lehane's 2003 best selling mystery and faithfully recreate its haunting tone and down right creepiness. Scorsese's talent for subliminally affecting his audience with his visual style is nearly unrivaled. There are many sights to behold in Shutter Island, some of them puzzling and others so bizarre that they may eventually find their way into your subconscious. What begins as a routine mystery soon evolves into an intense psychological trip.Set in 1954 U.S. Marshals Teddy Daniels (DiCaprio) and his partner Chuck Aule (Mark Ruffalo) arrive by ferry to Shutter Island off the coast of Massachusetts and...
- 6/1/2010
- LRMonline.com
[Note: This review was originally posted in December 2009 after a special preview screening. Now that the film has been released, reposting it seems appropriate.]
Martin Scorsese's Shutter Island, which is based on Dennis Lehane's novel, is a nightmarish, puzzle-box thriller. Although the film isn't set to premiere until the Berlin Film Festival in February 2010, an "unfinished" version recently screened at Butt-numb-a-Thon in Austin, Texas. Those anticipating the muscular noir of Cape Fear, which is what the marketing has suggested, should readjust their expectations as Shutter Island is a far creepier and subtler work that uses the collective experience of a generation of Americans to grapple with themes of delusion, loss and guilt.
Teddy Daniels (Leonardo DiCaprio) is a United States Marshall who, along with a new partner Chuck Aules (Mark Ruffalo), is sent to investigate the disappearance of a patient named Rachel Solando (Emily Mortimer) from a federal prison for the mentally ill on Boston's Shutter Island. Daniels, whose wife (Michelle Williams) was killed in an apartment fire, isn't the steadiest of...
Martin Scorsese's Shutter Island, which is based on Dennis Lehane's novel, is a nightmarish, puzzle-box thriller. Although the film isn't set to premiere until the Berlin Film Festival in February 2010, an "unfinished" version recently screened at Butt-numb-a-Thon in Austin, Texas. Those anticipating the muscular noir of Cape Fear, which is what the marketing has suggested, should readjust their expectations as Shutter Island is a far creepier and subtler work that uses the collective experience of a generation of Americans to grapple with themes of delusion, loss and guilt.
Teddy Daniels (Leonardo DiCaprio) is a United States Marshall who, along with a new partner Chuck Aules (Mark Ruffalo), is sent to investigate the disappearance of a patient named Rachel Solando (Emily Mortimer) from a federal prison for the mentally ill on Boston's Shutter Island. Daniels, whose wife (Michelle Williams) was killed in an apartment fire, isn't the steadiest of...
- 2/22/2010
- Screen Anarchy
The Shutter Island soundtrack. Lavish outlays of cash on sonic canvases from the back catalogue of Jumpin’ Prince Mick and the Keefster is probably what most famously characterises the soundtracks of prior Martin Scorsese movies. Whether it be stumping up a third of the, relatively meagre, Mean Streets budget for a couple of Stones cuts, or forking over really big bucks for repeat performances of Gimme Shelter (and others) in Casino and The Departed (the less said about Shine a Light the better). Recent years though have seen the director strike up a productive partnership with Howard Shore – The Lord of the Rings composer scoring the diminutive director’s last three narrative features. And it is orchestral moodiness rather than diner jukebox pillaging which dominates the soundtrack to Scorsese’s latest, the waylaid Shutter Island. However Shore is absent from proceedings, as indeed is a commissioned composer of any identity,...
- 2/21/2010
- by Paul Martin
- Movie-moron.com
In 2006, a young Polish composer named Abel Korzeniowski moved to Los Angeles to pursue film composition as his career. Although he had an impressive resumé, including a specialization in cello, studying from Krzysztof Penderecki and numerous awards (Golden Lions from the Gdynia festival, a Golden Knight Award from Russia), the film music business is very saturated in Los Angeles. Three years later Korzeniowski is in the gate of international fame with a Golden Globe nomination for the score he wrote for Tom Ford's A Single Man. We discussed his work on the movie, the special methods he used for the score's recording and what the future holds for this bright talent.
How did you first get in touch with A Single Man?
This actually goes back to my first movie in the U.S. called Pu-239. This is when I met editor Tania Riegel and she recommended me for A Single Man three years later.
How did you first get in touch with A Single Man?
This actually goes back to my first movie in the U.S. called Pu-239. This is when I met editor Tania Riegel and she recommended me for A Single Man three years later.
- 12/22/2009
- Daily Film Music Blog
Martin Scorsese's Shutter Island, which is based on Dennis Lehane's novel, is a nightmarish, puzzle-box thriller. Although the film isn't set to premiere until the Berlin Film Festival in February 2010, an "unfinished" version recently screened at Butt-numb-a-Thon in Austin, Texas. Those anticipating the muscular noir of Cape Fear, which is what the marketing has suggested, should readjust their expectations as Shutter Island is a far creepier and subtler work that uses the collective experience of a generation of Americans to grapple with themes of delusion, loss and guilt.
Teddy Daniels (Leonardo DiCaprio) is a United States Marshall who, along with a new partner Chuck Aules (Mark Ruffalo), is sent to investigate the disappearance of a patient named Rachel Solando (Emily Mortimer) from a federal prison for the mentally ill on Boston's Shutter Island. Daniels, whose wife (Michelle Williams) was killed in an apartment fire, isn't the steadiest of...
Teddy Daniels (Leonardo DiCaprio) is a United States Marshall who, along with a new partner Chuck Aules (Mark Ruffalo), is sent to investigate the disappearance of a patient named Rachel Solando (Emily Mortimer) from a federal prison for the mentally ill on Boston's Shutter Island. Daniels, whose wife (Michelle Williams) was killed in an apartment fire, isn't the steadiest of...
- 12/17/2009
- Screen Anarchy
Opera Boston announces the company's first commissioned work- the world premiere of Madame White Snake, a new opera based on a beloved ancient Chinese legend, by composer Zhou Long and librettist Cerise Lim Jacobs. Co-commissioned with the Beijing Music Festival (Bmf), it is the first world premiere by the Bmf and an American company. Madame White Snake will have three performances (Feb. 26, 28, and March 2, 2010) at the Cutler Majestic Theatre in Boston and two performances in Beijing in October 2010. Planning has begun to bring Madame White Snake to several Chinese cities following the Chinese premiere in Beijing; the proposed tour is the first by an American Opera Company in China since San Francisco's Western Opera Company in 1987. The education and outreach program of Madame White Snake is presented by State Street Corporation.
Madame White Snake is one of just four world premieres by U.S. opera companies in the 2009-10 season.
Madame White Snake is one of just four world premieres by U.S. opera companies in the 2009-10 season.
- 11/12/2009
- BroadwayWorld.com
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