9 items from 2014
The lunatics have seldom taken over the asylum so literally, yet to so little reward, as in “Stonehearst Asylum.” Not exactly qualifying as horror, costume drama, mystery, parable or satire, this well-mounted Gothic meller — as much as it’s anything — arrives top-heavy with prestige British acting talent but never quite finds its footing, or a discernible point. Arriving the week before Halloween in a half-dozen territories including the U.S., the pic’s familiar faces and promise (however empty) of a moderately scary good time should generate more idle curiosity than B.O., with word of mouth unlikely to help. Ancillary prospects are likely to be healthier, but this fairly expensive-looking production will face a long slog recouping its costs.
After a medical-school prologue in which a Victorian-era surgeon instructor (Brendan Gleeson, seen only here and at the end) parades a distraught female sufferer of “hysteria” before his students, we »
- Dennis Harvey
Starring Academy Award winner Adrien Brody as The Great Harry Houdini, Kristen Connolly and Evan Jones, the scripted four-hour event chronicles Houdini’s extraordinary life as he finds fame while defying death with his incredible stunts and illusions.
His ability to escape from handcuffs, strait-jackets and water tanks is legendary – breaking the shackles of his past proved more challenging. History’s Houdini follows the world-renowned master of escape’s transformation from immigrant into the world’s first superstar. Driven, disciplined and actively chasing the American Dream, Houdini constantly pushed his physical limits to accomplish feats of strength that amazed audiences in an age of spectacle. And though they saw what he wanted them to see, his reality was more elusive than his escapes.
Houdini is based »
- Michelle McCue
There will be many reasons to watch History Channel's "Houdini," starting with Adrien Brody role as the famed illusionist/escapist. Another is down to Oscar nominated composer John Debney's score for the miniseries, his first work for director Uli Edel ("The Baader Meinhof Complex"). “I would best describe the 'Houdini' score as Industrial Rock meets Gypsy rooted mystery. Uli Edel gave Houdini such a stylish and über-contemporary look. His attention to detail was impeccable and high spirit of creativity was infectious!” Debney told The Playlist. The series will track Houdini's rise from poverty to acclaim, providing Debney with a rich historical backdrop. “All of the score is in the main electronic, with the addition of a solo gypsy violin and cello. Lots of Zither and other stringed instruments were also used," he explained. "Early discussions on tone centered around the idea of giving Houdini a very edgy and contemporary. »
- Kevin Jagernauth
Digital Spy presents Doctor Who Week - seven days of special features celebrating the return of the world's favourite sci-fi series, and the arrival of a brand new Doctor - on August 23.
You don't need a classic theme for a great TV show, but as programmes from M*A*S*H and The X-Files to The Wire and Buffy The Vampire Slayer have shown, it certainly doesn't hurt.
Below, we take a look at the history of the revolutionary Doctor Who theme and also explore how the show has intertwined with the wider world of pop.
Grainer attempted to get Derbyshire a co-writing credit but the policy of the time was to keep Workshop members anonymous, »
None of us are the same.
You’ll never have to worry about competing with John Williams. I know what you are thinking: “No kidding, dude!”
No, I mean it. John Williams will never sound like you can. He’ll never sound like me. He’s not able. You might say, “Um, Deane, excuse me, but John Williams is arguably the single greatest composer living today. He can do anything.” To which I would respond, “Yes he is… and no he cannot.”
John Williams can never be Deane Ogden, or James Newton Howard, , or John Debney, or Brian Ralston, or Alexandre Desplat, or Sharon Farber, or Chris Young, or Adrian Ellis, or Hans Zimmer, or Brian Satterwhite, or Richard Bellis, or Tim Montijo, or Alan Silvestri. As long as he has written for the screen, as hard as he might try, as much as he may study, he’ll never get there. »
- Deane Ogden
He also said, “I still hope to one day come back and do another Marvel movie, which may or may not happen, but I'm definitely being optimistic about it.”
Of course, Elektra was based on a Marvel character, but not a Marvel Studios film. However, whether or not they're made by Marvel Studios, superhero films based on Marvel characters (and DC characters, for that matter) have the potential to be both character-driven and examples of grand spectacle, which many of them pull off successfully.
Beck said “That movie did pretty poorly at the box office, even though I enjoyed the film very much.” It sounds like he's referring to enjoying the film itself, as well »
"Bonnie and Clyde" ambushed Emmy voters on Friday night to discuss the ambitious miniseries that aired last December simultaneously on Lifetime, History and A&E. It's a good year for the production to compete, considering the previously combined categories for minis and movies were just separated, thus creating room for more contenders. "Bonnie and Clyde" got an early head start in the industry-awards derby by nabbing four guild nominations (sound, costumes and art direction) in January. Gold Derby not only recorded the event (listen to the audio podcast below), but I moderated the chat with director Bruce Beresford, stars Emile Hirsch and Lane Garrison, writers Joe Batteer and John Rice, plus Marilyn Vance (costumes), Derek Hill (art direction), Francis Kenny (cinematography) and John Debney (music). -Break- The gang reveals the meticulous work and research that went into recreating the outlaws' America of the 1930s (many scenes were shot »
Ivan Reitman's early comedies leaned heavily on the idea of the scruffy underdogs who managed to retain their personal quirks within systems designed to break them down. Whether it was the rowdy campers and counselors of "Meatballs" or the shabby soldiers of "Stripes" or the Ghostbusters, Reitman's movies seemed to celebrate these characters and the entire idea of rebellion. After those films, though, he became an A-list director whose movies seemed to lean on high concepts that were much less interesting. "Legal Eagles" and "Twins" were both dispiriting efforts that leaned heavily on movie star charisma in place of actual scripts and characters. In general, any film Reitman made with Arnold Schwarzenegger felt like a total refutation of the things that Reitman did well. The one bright spot in his post-"Ghostbusters" filmography was "Dave," which started as a sharp and funny script, and if "Draft Day" feels like any of his prior films, »
- Drew McWeeny
Commenting on the Critics with Simon Columb...
"Tyler’s resume also includes The Expendables films, Now You See Me, and a handful of the Fast and Furious movies. He did an alright job with the music in his previous Marvel efforts, but as I said before, none of them were exactly memorable. The studio must like him though if they want to bring him back for Avengers: Age Of Ultron. Let’s just hope that he does as good a job with the superhero team-up as Silvestri did the first time around."
Read the full article here.
I think Garcia is well aware of flawed ‘alright’ critique of Tyler’s previous efforts. Considering the success of Marvel’s Universe of films, this is a core element that is consistently below par. »
- Gary Collinson
9 items from 2014
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