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2012 | 2011 | 2010 | 2009 | 2008 | 2001
1-20 of 22 items from 2012 « Prev | Next »
Special Features - The Ten Most Engrossing Movie Soundtracks
21 May 2012 6:25 AM, PDT | Flickeringmyth | See recent Flickeringmyth news »
Simon Moore presents the ten most engrossing movie soundtracks...
Let me put you on the spot for a moment. Think of a great film. Right now. An uncompromisingly fantastic piece of cinema you’d be proud to shout your love for at the top of your voice in a crowded elevator. I’ll give you a minute to think of one. Hell, take two minutes, so you can cheat and sneak a peek at the IMDb.
Now that you’ve thought of a great film, ask yourself this – would it be anywhere near half as great without its musical soundtrack? Imagine The Godfather without that trumpet theme. Half the story of Star Wars is in John Williams’ breathtaking score. But consider this too – even the crummiest, the cheesiest, the most head-mashingly daft films can be potentially saved by their soundtrack. Ennio Morricone spent almost all of the sixties saving B-movie »
- flickeringmyth
Donna Summer Songs: One Oscar Winner
17 May 2012 1:56 PM, PDT | Alt Film Guide | See recent Alt Film Guide news »
Singer Donna Summer, who died of cancer at age 63 earlier today, was featured in only one movie: Robert Klane’s Thank God It’s Friday. The unpretentious 1978 disco comedy musical is chiefly notable for the Paul Jabara-written song "Last Dance" — one of Summer’s biggest hits — which earned the Best Original Song Academy Award. Donna Summer songs, however, have been featured in a number of movies, ranging from Charlie’s Angels: Full Throttle to Ron Howard’s Oscar-nominated Frost/Nixon. Among Summer’s best-known songs are "MacArthur’s Park," "On the Radio," "She Works Hard for the Money," and "Bad Girls." The lesser known "Down Deep Inside," which Summer co-wrote with John Barry, was a Golden Globe nominee in 1977, as it was featured in Peter Yates’ box-office hit The Deep. Donna Summer’s stardom faded in the ’80s, following the demise of the disco vogue and reports that the »
- Andre Soares
James Bond Retrospective: Octopussy (1983)
15 May 2012 3:15 PM, PDT | Obsessed with Film | See recent Obsessed with Film news »
To mark the 50th Anniversary of one of the most successful movie franchises of all time and with filming almost complete on James Bond’s 23rd official outing in Skyfall due for release later this year, I have been tasked with taking a retrospective look at the films that turned author Ian Fleming’s creation into one of the most recognised and iconic characters in film history.
For Octopussy, the thirteenth official James Bond film, 1983 proved to be rather unlucky. After a lengthy court battle with the co-writer of Thunderball, Kevin McClory, Albert R. Broccoli’s Eon Productions had lost the right to use Bond’s nemesis Blofeld and his organisation Spectre in any of their films. McClory had been trying since 1974 to get his own rival Bond film made but due to a lack of financial backing and legal action from United Artists and the Fleming Trustees his project »
- Chris Wright
James Bond Retrospective: For Your Eyes Only (1981)
1 May 2012 3:23 PM, PDT | Obsessed with Film | See recent Obsessed with Film news »
To mark the 50th Anniversary of one of the most successful movie franchises of all time and with filming almost complete on James Bond’s 23rd official outing in Skyfall due for release later this year, I have been tasked with taking a retrospective look at the films that turned author Ian Fleming’s creation into one of the most recognised and iconic characters in film history.
Following on from Bond’s previous mission into outer space for Moonraker, which although it was a huge success at the box office provided some of the worst excesses of the series so far preferring a more humorous approach over the serious spy thrills of the early days in the character’s long history. The film had also proved to be a costly exercise requiring co-financing from the French wing of United Artists to cover the budget. Series producer Albert R. Broccoli wisely »
- Chris Wright
Sci-fi cinema’s freakiest vortex moments
27 April 2012 9:15 AM, PDT | Den of Geek | See recent Den of Geek news »
A sci-fi movie wouldn’t be the same without a hypnotic journey through time and space. Here’s our celebration of cinema’s finest genre vortexes...
It’s a given that any sci-fi protagonist will, at some point in their adventures, descend into a kind of churning whirlpool in space. The experience is probably an entry requirement in the sci-fi hero private smoking room, if such a thing exists. “What? You haven’t been through a vortex of flashing lights? You haven’t stared at the benighted abyss which lies beyond death? Get out. Get out of sci-fi hero club.”
Science fiction is all about poking at the edges of human experience. And sometimes, about what might happen if we head off into the depths of space. What - or who - might we find? Does space loop back on itself, so your ship effectively appears on the other side »
Looking back at Disney’s The Black Hole
27 April 2012 5:49 AM, PDT | Den of Geek | See recent Den of Geek news »
It was Disney’s earliest attempt to replicate the success of Star Wars. Here’s our look back at the rather weird sci-fi odyssey, The Black Hole...
Before The Black Hole, Disney’s live-action output consisted of breezy stuff like Freaky Friday, The Computer Wore Tennis Shoes and Herbie Goes To Monte Carlo - the kind of flicks you could take your grandma to see without fear of scaring her to death. The arrival of Star Wars in 1977, with its motion-control special effects, colourful characters and sprawling universe, suddenly made Disney’s family fantasies look somewhat quaint.
Released a little over two years after Star Wars, The Black Hole was Disney’s attempt to try something new; it was an epic space opera which rode the crest of George Lucas’ astral wave. In the final analysis, though, The Black Hole is a strange fusion of 2001: A Space Odyssey’s metaphysical ponderings and cute robots, »
R.I.P. Martin Poll
15 April 2012 7:36 PM, PDT | Deadline TV | See recent Deadline TV news »
Veteran movie and TV producer Martin Poll died between Friday night and early Saturday morning of natural causes at a care facility on the Upper Westside in New York City. He was 89. Poll was nominated for an Academy Award as producer for Best Picture of 1968 for The Lion In Winter, which won three Oscars — Best Actress Katharine Hepburn (tied with Barbra Streisand for Funny Girl), Best Original Score for John Barry and Best Adapted Screenplay for James Goldman — out of seven nominations. He began his career in Europe where he served as a co-producer on feature films and produced more than three dozen half-hour episodes of the classic Flash Gordon TV series in Germany and France for international release. After moving to New York City, Poll bought and reopened the famed Biograph Studio and rechristened it Gold Medal Studios. Productions during his time at Gold Medal included Elia Kazan’s A Face In The Crowd, »
- THE DEADLINE TEAM
James Bond Retrospective: The Spy Who Loved Me (1977)
29 March 2012 9:49 AM, PDT | Obsessed with Film | See recent Obsessed with Film news »
To mark the 50th Anniversary of one of the most successful movie franchises of all time and with filming well underway on James Bond’s 23rd official outing in Skyfall due for release later this year, I have been tasked with taking a retrospective look at the films that turned author Ian Fleming’s creation into one of the most recognised and iconic characters in film history.
With James Bond well established as a worldwide phenomenon raking in countless millions at the box-office, the tenth film in the series, The Spy Who Loved Me proved unexpectedly problematic in its journey to the screen and marked the longest gap between films since the series began. Due to personal financial issues Bond producer Harry Saltzman decided to sell his 50% stake in Danjaq S.A., the company he had established with Albert R. Broccoli to produce the Bond series. United Artists, who had »
- Chris Wright
James Bond Retrospective: The Man With The Golden Gun (1974)
15 March 2012 3:56 PM, PDT | Obsessed with Film | See recent Obsessed with Film news »
To mark the 50th Anniversary of one of the most successful movie franchises of all time and with filming well underway on James Bond’s 23rd official outing in Skyfall due for release later this year, I have been tasked with taking a retrospective look at the films that turned author Ian Fleming’s creation into one of the most recognised and iconic characters in film history.
With Roger Moore well and truly established in the lead role after just one film, work began on a follow-up to Live And Let Die almost as soon as it was released into cinemas. Keen to capitalise on the renewed success of the character, producers Albert R. Broccoli and Harry Saltzman chose Fleming’s final Bond novel, The Man With The Golden Gun as their ninth film featuring the British secret agent.
With the novel taking place largely in Jamaica, it was felt »
- Chris Wright
Leslie Gerwin: Flu Season and Fiction: What Downton Abbey and Contagion Tell Us About Facing Reality
8 March 2012 10:02 AM, PST | Aol TV. | See recent Aol TV. news »
With flu season now officially underway across the country, according to The Centers for Disease Control, it is appropriate to reflect on the notion that Hollywood's Academy Awards made no mention recently of the movie Contagion, just as PBS ended season two of its acclaimed series Downton Abbey with the penultimate episode about the 1918 Spanish Flu.
All three of these developments carry a potentially dangerous public health message.
While the Cdc offers reassurance that this year's flu will be mild, the box office failure of Contagion -- despite an all-star cast and an impressive list of expert consultants -- suggests that moviegoers were unwilling to confront a plausibly worst-case scenario of a deadly pandemic. By contrast, Downton Abbey, which attracted more than 9 million viewers each week , dramatized the deadliest epidemic in the history of the world by fitting it neatly within the plot lines without compromising the elegance that is so attractive to devoted fans. »
- Leslie Gerwin
James Bond Retrospective: Diamonds Are Forever (1971)
15 February 2012 12:13 PM, PST | Obsessed with Film | See recent Obsessed with Film news »
To mark the 50th Anniversary of one of the most successful movie franchises of all time and as James Bond prepares for his 23rd official outing in Skyfall later this year, I have been tasked with taking a retrospective look at the films that turned author Ian Fleming’s creation into one of the most recognised and iconic characters in film history.
Following the departure of George Lazenby after just one film in the lead role, producers Albert R. Broccoli and Harry Saltzman were left wondering if the success and popularity of the series so far had been down to just one man, Sean Connery. While Lazenby had made a good impression as Bond in On Her Majesty’s Secret Service his performance was essentially a reinterpretation of Connery rather than a reinvention of the role itself. With the producers keen to cast a new lead they set to work auditioning actors for the part, »
- Chris Wright
Oscars 2012: From 'Hugo' to 'The Artist,' Todd McCarthy Critiques The Year in Movie Music
8 February 2012 1:28 PM, PST | The Hollywood Reporter | See recent The Hollywood Reporter news »
This article originally appeared in The Hollywood Reporter's Feb. 17 issue. While there are innumerable movie soundtracks composed from the 1940s through the late 1960s worth listening to entirely on their own for their value as music, there have been precious few fully original, non-song-based scores during the past four decades for which I’ve been inspired to buy the albums. John Barry, Georges Delerue and Ennio Morricone were the last film composers whose scores I bought regularly. The golden age of orchestral film music inarguably died long ago. The traditional view is that a score should not
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- Todd McCarthy
James Bond Retrospective: On Her Majesty’S Secret Service (1969)
30 January 2012 10:08 AM, PST | Obsessed with Film | See recent Obsessed with Film news »
To mark the 50th Anniversary of one of the most successful movie franchises of all time and as James Bond prepares for his 23rd official outing in Skyfall later this year, I have been tasked with taking a retrospective look at the films that turned author Ian Fleming’s creation into one of the most recognised and iconic characters in film history.
The sixth film in the series was to be inspired by Fleming’s 11th novel, On Her Majesty’s Secret Service (Ohmss). Following the excesses of You Only Live Twice, the decision was made to take Bond back to his roots and make a faithful adaptation of Fleming’s original story with less reliance on gadgets and an emphasis on the love story at the heart of the novel.
Peter Hunt, who had already made his mark on the series by serving as editor for the previous films, »
- Chris Wright
James Bond Retrospective: You Only Live Twice (1967)
15 January 2012 4:53 AM, PST | Obsessed with Film | See recent Obsessed with Film news »
To mark the 50th Anniversary of one of the most successful movie franchises of all time and as James Bond prepares for his 23rd official outing in Skyfall later this year, I have been tasked with taking a retrospective look at the films that turned author Ian Fleming’s creation into one of the most recognised and iconic characters in film history.
After the phenomenal box-office success of Thunderball in 1965 the Bond series producers Albert R. Broccoli and Harry Saltzman were left looking for an out of this world adventure for Bond’s fifth outing, You Only Live Twice. When Richard Maibaum the screenwriter of all the previous films became unavailable the producers hired popular short story and children’s writer Roald Dahl to pen the screenplay. Dahl had been a close friend of Fleming but described the original novel as “Fleming’s worst book”. Taking only a handful of ideas from the story, »
- Chris Wright
Israel Baker
11 January 2012 11:59 AM, PST | The Guardian - Film News | See recent The Guardian - Film News news »
Virtuoso violinist heard on a string of classic Hollywood movie scores
The American violinist Israel Baker, who has died aged 92, was renowned among his fellow musicians but unknown to most of the millions who heard him play on the soundtracks of such movies as Alfred Hitchcock's 1960 shocker Psycho, where he led Bernard Herrmann's screaming violin effects accompanying the stabbing of Janet Leigh in the shower scene.
Baker belonged to a select group of musicians who could fit into any situation at a moment's notice and read any piece on sight. But while making a lavish living in the Hollywood film and recording studios, he also had a considerable concert career.
He was born in Chicago, the youngest of four children of Russian immigrants. At six he appeared on national radio, and from his late teens he played in orchestras. At 22 he was concertmaster of Leopold Stokowski's All-American »
- Tully Potter
Skyfall Confirms Composer Thomas Newman
10 January 2012 1:50 PM, PST | MovieWeb | See recent MovieWeb news »
Michael G. Wilson and Barbara Broccoli today announced that composer Thomas Newman will score the 23rd James Bond film, Skyfall. "We are delighted to confirm that Thomas Newman will score Skyfall. Thomas is one of the most respected and successful composers, he has a long history of working with Sam Mendes and we look forward to welcoming him into the Bond family," commented Michael G. Wilson and Barbara Broccoli.
Said Newman today, "I'm incredibly excited to be working with Sam again. It's a real thrill to be able to collaborate on something as special as a Bond movie."
Thomas Newman, born on 20th October 1955 in Los Angeles, California, has scored four of Sam Mendes' previous movies: American Beauty, Road To Perdition, Jarhead and Revolutionary Road. He has composed the music to more than fifty films and television series including Erin Brockovich, The Shawshank Redemption and Wall-e and has earned ten Academy Award nominations, »
- MovieWeb
Who Scores on 007 Skyfall?
10 January 2012 4:59 AM, PST | Flickeringmyth | See recent Flickeringmyth news »
Commenting on the commentators with Simon Columb...
Germain Lussier writes for /Film about the replacement of David Arnold on the 23rd Bond film, Skyfall:
"To be honest, I couldn’t pick one of Arnold’s Bond scores from the other (I’m more of fan of his Roland Emmerich collaborations) and, usually, most of the Bond music news is attached to the pop star who sings the opening credits song. Arnold’s a fine composer, but it almost feels lazy that he kept getting asked back when each director is so radically different."
As a huge fan of the James Bond franchise - and someone who truly enjoys the wide variety of scores to the 007 films, I couldn't disagree more!
David Arnold is the only composer who has comfortably succeeded John Barry. Many have tried - Eric Serra (Goldeneye), Michael Kamen (Licence to Kill) - but none have managed »
- flickeringmyth
Thomas Newman To Score Skyfall
5 January 2012 2:02 PM, PST | Obsessed with Film | See recent Obsessed with Film news »
While John Barry may be the name most people associate with James Bond music, a number of high profile composers including Bill Conti, George Martin and Eric Serra have had a crack at bringing their own style to the Bond sound with varying results. According to Bond fansite MI6.com the latest James Bond film Skyfall, due at the end of October, will be scored by Thomas Newman. The BAFTA and Emmy winning composer is a long time collaborator with the film’s director Sam Mendes so it comes as no surprise that he has been offered the gig.
As a member of the Newman family, which includes his father Alfred, his brother David and his cousin Randy, they are all well known for their contribution to the world of film music. Thomas was responsible for the American Beauty, Road To Perdition, Jarhead and Revolutionary Road scores all directed by Mendes. »
- Chris Wright
Thomas Newman Scoring Skyfall?
4 January 2012 7:34 PM, PST | EmpireOnline | See recent EmpireOnline news »
While there has been no official word from the Bond camp just yet, it would seem that Sam Mendes is truly looking to put his own stamp on the 007 franchise and Skyfall, with news site Mi-6 reporting (via The Playlist) that he's hiring regular collaborator Thomas Newman to take over scoring duties from current composer David Arnold. Arnold has been in charge of the Bond musical sound since he was recommended to Tomorrow Never Dies director Roger Spottiswoode by 007 legend John Barry. Since then, he’s worked for every director up to Quantum Of Solace’s Marc Forster. He’s been credited with helping to modernise the franchise, bringing a trademark blend of orchestration and propulsive synthesised work.While it’s surprising that Mendes would have brought someone new in given the producers’ control of most Bond elements, it’s not tough to see why Michael G Wilson and Barbara Broccoli »
Thomas Newman Replaces David Arnold As Composer For Bond Film 'Skyfall'
4 January 2012 12:44 PM, PST | The Playlist | See recent The Playlist news »
Well, he had a good run but longtime James Bond composer David Arnold, who has scored every 007 outing since 1997's "Tomorrow Never Dies," is being switched out for this year's "Skyfall," according to James Bond news site Mi-6. Director Sam Mendes has swapped him for his longtime collaborator Thomas Newman, who has scored all of Mendes' films except 2009's regrettable "Away We Go." While this might not seem like a big deal, it is, for a couple of reasons. Firstly, Arnold has done much to develop the "sound" of the new Bond series, bridging the more whimsical Pierce Brosnan films with the grittier Daniel Craig entries through percussive, thrilling music. In fact, original James Bond composer John Barry, who composed fifteen silky scores for the super-spy (and created the iconic 007 theme), doing as much to cement the character in popular culture as Sean Connery or Ian Fleming, recommended Arnold to franchise producer Barbara. »
2012 | 2011 | 2010 | 2009 | 2008 | 2001
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