7 items from 2013
By Darren Allison, Soundtrack Editor
Perseverance Records to attend huge soundtrack signing event
Our friend Robin Esterhammer of Perseverance Records will be hosting a signing event at Dark Delicacies of Burbank at 2pm on July 28th. The list of composers is certainly looking impressive and names are still being added.
Confirmed already are: John Debney, Richard M. Sherman (Chitty Chitty Bang Bang), Elia Cmiral (The Deaths of Ian Stone, Journey to the End of the Night), Edwin Wendler (Escape), John Massari (The Puppet Master Soundtracks Box, 5 CD box), Brian Ralston (Crooked Arrows), Dennis Dreith (The Punisher, Gag, Creep Van), Craig Safan (Remo Williams, Fade to Black, Circus, Lesser Known Favorites), Donald Rubinstein (Martin, Pollock, Knightriders), Romina Arena (Morricone Uncovered), Peter Bernstein (The Puppet Master Soundtracks Box), Mader (The Wedding Banquet, Cinemusica), Phillip Lambro (Chinatown - The Rejected Score, Crypt of the Living Dead, Murph the Surf, The Film Music of Phillip Lambro), Richard Band (Mutant, »
- email@example.com (Cinema Retro)
We, the astute genre fans, already know that Brad Anderson can do horror (Session 9), psychological thrillers (The Machinist), and ice-cold train-related chillers (Transsiberian), but how well would the filmmaker fare as a simple "hired gun" for a big star and a gimmicky screenplay? If the new kidnapping thriller The Call is any indication, he'd do a rather fine job of minimizing the cliches, focusing on the cleverest moments, and delivering a simple suspense flick that might be obvious and entirely predictable -- but is still quite a bit of fun all the same. In the hands of a lazier or less talented filmmaker, The Call could hit the screen feeling like a dreary pilot episode of a very uninteresting TV series.
Fortunately for all involved, Anderson manages to bring a lot of class and energy to the material.
Halle Berry plays a 911 operator who "loses" a caller during a horrific break-in. »
- Scott Weinberg
A lot of critical attention targeting The Call will focus on yet another questionable decision made by Halle Berry when it comes to her post-Oscar career (an award she won 11 years ago by the way). Fair, though tiresome. Instead, The Call should be looked at as another film that actually could have been quite decent had the storytelling decisions not opened up the entire film to a series of nitpicks, the ending being the worst offender. The story is ridiculous, yes. Jordan Turner (Berry), a veteran 911 operator is so disturbed by a small mistake she made during a call, which resulted in the kidnapping and subsequent death of the young girl on the other end of the line, she has decided to step away from the phones and now trains the new recruits. Okay, nothing too silly there, but it's early... Unfortunately, she's not a very good trainer as we »
- Brad Brevet
In the high-stakes, edge-of-your-seat thriller The Call, a thin thread of survival separates a teenage kidnap victim from her only hope: a compassionate, steady voice on the other end of a cell phone marshaling all the resources she can to find her.
Veteran 911 Emergency Call Center operator Jordan (Halle Berry) has the kind of job that’s not for the faint of heart: navigating the public’s distress in order to save lives. But when a young woman’s frantic report of a prowler ends tragically, Jordan is devastated. Reassessing her life, Jordan wonders if perhaps she’s experienced her last fraught-filled phone call. With a supportive cop (Morris Chestnut) for a boyfriend, maybe it’s time to step back, enjoy life, and teach others the ins and outs of her high-pressure profession.
That lifeline to strangers isn’t over yet, though. When average American teenager Casey (Abigail Breslin), is »
- Movie Geeks
The curtain closer at Sundance provides an overly reverential and saccharine view of a complex man possessed by ambition
Barely a year has passed since Steve Jobs died, aged 56, yet here we have the first of two biopics, completed in the nick of time, to close this year's Sundance film festival.
Director Joshua Michael Stern, working with first-time feature screenwriter Matt Whiteley, has his work cut out for him, given that it's an Aaron Sorkin-scripted flick that's to follow. No doubt wary of the fact, Stern opts to focus on arguably the most pivotal period in Jobs's life, from the time he dropped out of college and created Apple computers in his parents' garage, to the moment where the iPhone is poised to be unleashed on an unsuspecting world.
Casting a figure of such immense social and cultural import was never going to be easy. Kudos, then, to Ashton Kutcher who, »
Apple founder and technology visionary Steve Jobs changed the way the world connects and computes, created one of the world’s most revolutionary companies and recently died, so of course he is now being remembered by way of an unsatisfying biopic that could have been far more creative and inspired than the final product. Director Joshua Michael Stern (best remembered for the completely forgettable Swing Vote) works off a script by newbie scribe Matt Whiteley (a former marketing wonk who was commissioned to write the script by his boss, producer Mark Hulme) that, while well-paced and interesting, also fails to illuminate much about the man and skips over large chunks of his life. As Jobs, Ashton Kutcher does a fine job (sorry, had to do it) with his role, though when jOBS amps up its intensity, he can’t quite keep his character compelling or believable. It’s obvious from the film’s first five minutes what »
- Kate Erbland
The first scene of "jOBS" plays like an Apple commercial. Set in 2001 at an Apple town hall meeting, the introductory sequence finds company visionary Steve Jobs (Ashton Kutcher) addressing staffers by revealing the first edition of the iPod. With John Debney's symphonic score emboldening Jobs' optimistic delivery, the man describes the iPod as "a tool for the heart" and the room applauds. The lack of irony borders on the creepy. From there, 'jOBS' relates the three decades leading up to that triumphant moment, revealing the ups and downs of Jobs' career trajectory with a less rosy perspective. The tone, however, remains oddly consistent: Jobs may barrel forward at the expense of nearly everyone around him, but even while portraying Jobs' ruthless streak, director Joshua Michael Stern maintains a worshipful perspective of his famous subject. The movie is constantly at war with attempts to provide an honest portrayal, almost as if its. »
- Eric Kohn
7 items from 2013
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