5 items from 2015
I love this movie and just finished editing a great conversation with director Alfonso Gomez-Rejon and screenwriter Jesse Andrews for the next print issue of Filmmaker. It won Sundance, you probably heard, and, if you’re a Brian Eno fan, well, it’s got a lot of his best songs in it. (And two in the trailer!) For now, I’m not going to say much more than that, but check it out. »
- Scott Macaulay
Noah Baumbach should ask James Murphy to score all of his films, because, at this point, the duo can do no wrong. Their latest collaboration is the soundtrack for While We're Young, a film about old couples who can't remember what life was like before it became terminally boring, starring Ben Stiller, Naomi Watts, Amanda Seyfried, Adam Driver, and Ad-Rock.Murphy selected songs from artists like Haim, Paul McCartney, and A Tribe Called Quest for the album, but the real joy is hearing the original music he wrote for the score. The beautiful "We Used to Dance," released today, is a gorgeous instrumental that sounds like it could have been plucked from Brian Eno's Another Green World (or an early Human League album). Murphy recorded two other songs for the soundtrack, including another original, "Only the Stars Above Welcome Me Home," and his take on David Bowie's 1976 classic "Golden Years. »
- Lauretta Charlton
Moments of comic brilliance wash away the taste of heartbreak: Alice and Gil’s will-they-won’t-they romance makes perfect viewing for Valentine’s Day
Irene Andrews is having a revelation after decades of marriage. “What are the chances you’ll ever meet that one human being who’s just really right for you?” she asks. “Whatever happens, they’ll see it through your eyes, and you’ll see it through theirs, and there isn’t a thing life can throw at you that you won’t get through together.” She pauses. “I really used to believe that, in my soppy girly way.”
Saying that to the strains of Brian Eno’s haunting An Ending (Ascent) is powerful enough, but the fact that Irene, played by Trudie Styler (Aka Mrs Sting), has just discovered her husband Bob’s daily trips to the gym have actually been visits to a knocking shop somewhat taints her words. »
- George Bass
Anyone who buys a ticket to a film called “Me and Earl and the Dying Girl” goes in fully expecting to cry. It’s sort of a given. The surprise, then, is the laughter: the near-constant stream of wise, insightful jokes that make it so easy to cozy up to characters dealing with a tough emotional situation. The story of a high school senior forced to befriend a classmate who has just diagnosed with leukemia, and the sincere, nonsexual connection that forms as a result (sorry, “The Fault in Our Stars,” but there’s no nookie here), this rousing adaptation of Jesse Andrews’ novel is destined not only to connect with young audiences in a big way, but to endure as a touchstone for its generation.
- Peter Debruge
By the time George Hencken’s “Soul Boys of the Western World” finishes, audiences won’t know Spandau Ballet’s favorite breakfast cereals, but that’s about all they won’t know. A vanity production composed entirely of pre-existing footage — producers Steve Dagger and Scott Millaney are the group’s manager and producer, respectively — the documentary traces the usual pop-band trajectory, presenting Spandau Ballet as the most iconic group of the 1980s. Hmm. TV-style and desperately in need of cutting, “Soul Boys” does convincingly position its subjects as key trendsetters, and their most memorable tunes continue to be enjoyable. Unsurprisingly, the film is timed to cash in on reunion concerts, and will be a gift to their fanbase.
The background story will be familiar for those who’ve watched practically any history of U.K. bands from the era. The five members, including brothers Gary and Martin Kemp, were raised »
- Jay Weissberg
5 items from 2015
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