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‘La La Land,’ ‘Stranger Things’ Among 2017 World Soundtrack Award Nominees

‘La La Land,’ ‘Stranger Things’ Among 2017 World Soundtrack Award Nominees
The World Soundtrack Academy has announced the first wave of 2017 World Soundtrack Award nominees.

Among the contenders: Academy Award winner Justin Hurwitz (“La La Land”), and Academy Award nominees Mica Levi, Nicholas Britell, Dustin O’Halloran and Jóhann Jóhannsson. As previously announced, the lifetime achievement award will be presented to composer David Shire (“The Conversation,” “All the President’s Men”) as part of the #WSAwards celebration of jazz.


Sting and Wayne Shorter Awarded Polar Music Prize; Annie Lennox, Esperanza Spalding Perform in Their Honor

Following the award ceremony, a selection of Terence Blanchard’s work (“Mo’ Better Blues,” “Malcolm X,” “25th Hour”) will be recorded and performed by Brussels Philharmonic and additional jazz soloists, conducted by Film Fest Gent’s music director Dirk Brossé.

The Academy will announce the nominees mid September for discovery of the year, best original score for a Belgian production, and the composition competition.

Said Film Fest Gent’s artistic director Patrick
See full article at Variety - Film News »

‘La La Land,’ ‘Stranger Things’ Among 2017 World Soundtrack Award Nominees

‘La La Land,’ ‘Stranger Things’ Among 2017 World Soundtrack Award Nominees
The World Soundtrack Academy has announced the first wave of 2017 World Soundtrack Award nominees.

Among the contenders: Academy Award winner Justin Hurwitz (“La La Land”), and Academy Award nominees Mica Levi, Nicholas Britell, Dustin O’Halloran and Jóhann Jóhannsson. As previously announced, the lifetime achievement award will be presented to composer David Shire (“The Conversation,” “All the President’s Men”) as part of the #WSAwards celebration of jazz.
See full article at Variety - TV News »

Review: "Ghost World" (2001); Criterion Blu-ray Special Edition

  • CinemaRetro
By Todd Garbarini

High school friends Enid Coleslaw (Thora Birch) and Rebecca Doppelmeyer (Scarlett Johansson) absolutely cannot wait to be free of the prison of school, defiantly flipping the bird and squashing their mortarboards following their graduation. Enid isn’t off the hook just yet: her “diploma” is instead a note informing her that she must “take some stupid art class” (her words) if she hopes to graduate. Their fellow classmates are caricatures of everyone we all knew during our adolescence. Melora (Debra Azar) is inhumanly happy all the time and oblivious to Enid and Rebecca’s sense of ennui and contempt. Todd (T.J. Thyne) is ultra-nervous to talk with the insouciant Rebecca at the punchbowl. Another bespectacled student sits off by himself. Enid and Rebecca are at both an intellectual and emotional crossroads. They want to share an apartment; however, they seem unaware of the amount of money they
See full article at CinemaRetro »

Tribeca Film Review: ‘Love After Love’

Tribeca Film Review: ‘Love After Love’
Blending the intimate volatility of John Cassavetes with the elegant lyricism of Hou Hsiao-hsien, Russell Harbaugh crafts an alternately ugly and lovely — and altogether authentic — snapshot of the tumultuous process of grieving a lost loved one. Bolstered by superb lead turns from Chris O’Dowd and Andie MacDowell, as well as a formal structure that enhances the roiling emotions propelling its characters into a downward spiral, “Love After Love” is an assured debut feature that announces its writer-director as a formidable new American indie voice. In the wake of its Tribeca Film Festival premiere, it seems primed to attract enthusiastic theatrical — and award season — attention.

The narrative starts before the film’s calamity, with Suzanne (MacDowell) and son Nicholas (O’Dowd) pondering the nature of true happiness, and how long it might last. The answer to the latter question is not very long at all, given that Suzanne’s husband,
See full article at Variety - Film News »

Free Fire: Director Ben Wheatley On His Feature-Length Shoot-Out

  • LRM Online
For many years, director Ben Wheatley has been one of Britain’s top genre exports from his early supernatural crime-thriller Kill List to the dark comedy Sightseers and the trippy war movie, A Field in England. Last year, he even took on the difficult task of adapting J.B. Ballard’s High-Rise, starring Tom Hiddleston, a crazy movie that also paid homage to another great British filmmaker, Stanley Kubrick. (All of these movies were either written, co-written and/or edited by Wheatley’s long-time silent partner, Amy Jump.)

Wheatley’s new movie Free Fire features an amazing ensemble cast that includes Brie Larson, Armie Hammer, Cillian Murphy, Sharlto Copley, Michael Smiley and more, as it sets up a gun deal that goes wrong and turns into a violent shoot out inside an abandoned warehouse.

The movie shows the amazing skills of Wheatley and Jump with terrific dialogue and some of the most insane action scenes,
See full article at LRM Online »

Free Fire: The 70’s Crime Pictures It Takes a Bullet From

Tony Black on Free Fire

Let’s be honest, if you’ve seen Free Fire, you’ll know it’s not particularly like a lot of the 1970’s crime films that, on the face of it, Ben Wheatley’s movie would sit alongside. This pulpy, lean slice of comic violence owes more to the early 90’s stylistics of down’n’dirty Tarantino than to Scorsese or Friedkin, but given i’ts set in the 70’s, was executive produced by Martin Scorsese, and certainly has plenty of now retro-connections to that decade, this seems a good place to analyse Free Fire in the context of the crime pictures of that decade. Where does it fit? Should it fit at all? Or should it rather tuck in behind Reservoir Dogs and, anachronistically, exist slightly out of the time it’s very much rooted in?

Crime thrillers of the 1970’s, for a start,
See full article at Flickeringmyth »

The Taking of Pelham One Two Three

A special edition of this confirmed '70s crowd pleaser?  I'm there. Robert Shaw has big plans to hijack a New York subway car, and subway cop Walter Matthau is determined to stop him. The Taking of Pelham One Two Three 42nd Anniversary Special Edition Blu-ray Kl Studio Classics 1974 / Color / 2:35 widescreen / 104 min. / Street Date July 5, 2016 / available through Kino Lorber / 29.95 1974 / Color / 2:35 widescreen / 104 min. / Street Date November 1, 2011 / 19.99 Starring Walter Matthau, Robert Shaw, Martin Balsam, Hector Elizondo, Earl Hindman, James Broderick, Dick O'Neill, Lee Wallace, Tom Pedi, Jerry Stiller, Rudy Bond, Kenneth McMillan, Doris Roberts, Julius Harris. Cinematography Owen Roizman Original Music David Shire Written by Peter Stone from the novel by John Godey Produced by Gabriel Katzka, Edgar J. Sherick Directed by Joseph Sargent

Reviewed by Glenn Erickson

I reviewed an MGM-Fox Blu-ray of United Artists' The Taking of Pelham One Two Three back in late 2011, and I can't
See full article at Trailers from Hell »

'All the President's Men': 10 Things You (Probably) Didn't Know About the Watergate Classic

  • Moviefone
When "Spotlight" won Best Picture in February, many observers recalled the Academy Awards race of four decades ago, when Watergate saga "All the President's Men" was a top contender.

Both movies made heroes out of the dogged reporters who had uncovered earth-shaking scandals, and both films made the often tedious process of journalism into gripping drama without distorting it much. Indeed, until "Spotlight" came along, "All the President's Men" had been considered the best movie ever made about journalism throughout the 40 years since its release, on April 9, 1976.

Today, "All the President's Men" is remembered as one of the last landmark movies of Hollywood's 1970s renaissance, and a highlight in the careers of stars Robert Redford and Dustin Hoffman. To celebrate the film's 40th anniversary, here are ten things you probably didn't know about "Atpm."

1. Washington Post reporters Bob Woodward and Carl Bernstein were still busy investigating Watergate when Robert Redford
See full article at Moviefone »

First trailer for The American Side

The first trailer has arrived online for the upcoming mystery thriller The American Side which stars Greg Stuhr, Alicja Bachleda, Robert Foster, Matthew Broderick, Camilla Belle, Janeane Garofalo and Robert Vaughn. Take a look below after the official synopsis…

When Charlie Paczynski’s raven-haired partner is caught in the crossfire of a blackmail scheme gone bad, he trails the prime suspect to the brink of Niagara, only to receive a cryptic warning: ‘what’s happening here you can’t begin to comprehend’… Thrust into a world populated by a whiskey-swilling raconteur (Robert Forster), strangely bonded siblings (Matthew Broderick and Camilla Belle), and a dubious government agent (Janeane Garofalo), Paczynski joins the quest for a long-lost design by enigmatic genius, Nikola Tesla. From the eccentric eavesdropper who gives him his first clue (yes! – that’s Robert Vaughn, The Man From U.N.C.L.E.) every door Paczynski forces open raises the stakes. Reminiscent of
See full article at Flickeringmyth »

The 25 most underrated film scores of the 2000s

  • Den of Geek



Diverse, awe-inspiring and memorable treasures that have sadly fallen off the radar

The noughties were a tough decade for film music fans. Not only was there the unprecedented loss of four great masters in the form of Jerry Goldsmith, Elmer Bernstein, Michael Kamen and Basil Poledouris; the nature of the industry itself began to go through some seismic changes, not all of them for the better.

With the art of film scoring becoming ever more processed, driven increasingly by ghost writers, electronic augmentation and temp tracks, prospects looked bleak. However, this shouldn’t shield the fact that there were some blindingly brilliant scores composed during this period. Here’s but a small sampling of them.

25. The Departed (Howard Shore, 2006)

When it came to the sound of his Oscar-winning crime thriller, director Martin Scorsese hit on the inspired notion of having composer Howard Shore base it around a tango,
See full article at Den of Geek »

Best Original Song Nominees Lady Gaga & Diane Warren Tackle Social Issues, Follow in Footsteps of Previous Winners

By Patrick Shanley

Managing Editor

This year’s best original song front runner seems to be Lady Gaga and Diane Warren’s “Til It Happens To You” from the documentary, The Hunting Ground, which examines the prevalence of sexual assault cases on college campuses throughout the U.S. The song is very personal for both artists, as both recently opened up about their past experiences with sexual assault in a L.A. Times interview.

The song’s importance, and its resonance with audiences (the music video has over 24 million hits on Youtube) and Academy voters, lies in its social commentary. The four young women who are the subjects of the film (Annie E. Clark, Andrea L. Pino, Sofie Karasek and Kamilah Willingham) recently penned a letter to the songwriters thanking them and that “the release of your song will have an unparalleled impact on the culture of campuses nationwide,” as reported by Billboard.
See full article at Scott Feinberg »

'Return to Oz' Turns 30: A tribute to the scariest children's movie of all time

  • Hitfix
'Return to Oz' Turns 30: A tribute to the scariest children's movie of all time
My first horror movie? Disney's "Return to Oz." I was in elementary school when I first watched Walter Murch's dark, visionary 1985 film, which was marketed to children despite being one of the most legitimately terrifying "family movies" of all time. It rattled me, deeply. I couldn't stop watching it. Released on June 21, 1985 to mixed reviews and poor box office, "Return to Oz" was the first and last directorial effort from esteemed Oscar-winning sound and film editor Walter Murch, who cut such acclaimed movies as "Julia," "Apocalypse Now," "The Unbearable Lightness of Being" and "The Talented Mr. Ripley." It was not, as they say, your grandmother's "Oz" movie. The Wicked Witch of the West may have been frightening for very young kids, but she was nothing compared to the devilish, head-swapping Princess Mombi, the sadistic, baritone-voiced Nome King, and, god help us, the cackling Wheelers, a group of fluorescent roller-derby
See full article at Hitfix »

Name Composers Not Above Getting the Boot

Name Composers Not Above Getting the Boot
There was a brief stir in January when composer Harry Gregson-Williams publicly expressed, via Facebook, his surprise at hearing music he didn’t recognize at the premiere of Michael Mann’s thriller “Blackhat” — and at not hearing a lot of score he did write.

The composer says his Facebook post has been blown out of proportion, but admits it was disappointing to see music he toiled over dropped (or replaced) in the final cut. But, he stresses, that’s just part of the game.

“You win some, you lose some,” he says, relaying his early mentor Hans Zimmer’s comment that you haven’t made it as a film composer until you’ve had a score rejected.

Gregson-Williams is simply the latest in a long line of composers who’ve watched scores tossed out and replaced whole-cloth, partially substituted by pre-existing tracks, or mangled beyond recognition. Mann is notorious for
See full article at Variety - Film News »

2015 Sundance Trading Card Series: #11. Heather McIntosh (Z for Zachariah)

  • ioncinema
Eric Lavallee: Name me three of your favorite “2014 discoveries”…

Heather McIntosh: MaddAddam Trilogy, Margaret Atwood. Volumina for Organ, György Ligeti. Mind Brains (Orange Twin Records)

Lavallee: In Z for Zachariah, Craig Zobel goes from a “Great World of Sound” (pardon the pun) to nothingness. How did you research dystopia, lifeless scapes and survivalism?

McIntosh: The score fits somewhere between pastoral and experimental. Research, I studied a lot of contemporary organ scores, like the Ligeti one above (not that the score really went that far out).

Lavallee: This is your second outing with Craig, your previous collaboration was the cringe worthy essay on victimization. In terms of instrument selection, what did you sprinkle onto Z?

McIntosh: For Compliance, it was cello driven. For Z for Zachariah, Cello is still there, but there is a larger chamber ensemble sound, pump organ, piano, choral ensemble, French horn, and a as always a sprinkling of electronic ambience.
See full article at ioncinema »

Review: Monkey Shines (Blu-ray)

  • DailyDead
Oh my, how the mighty had fallen! I had vague memories of Monkey Shines when I watched it over twenty years ago and, after revisiting this, it all makes sense why this film doesn’t spring to mind when I think of Romero’s great early body of work. George A. Romero’s first studio film ideally should have been the perfect opportunity for him to showcase his talent in a direction that nobody would expect and on paper it would seem that was his intention.

The story itself isn’t exactly straight horror. In fact, the first hour of the film plays off of a tragedy and is meant to create empathy for Jason Beghe’s character in a way that Christy Brown earns empathy in My Left Foot, but Beghe’s character isn’t developed enough to forgive or understand his selfish demeanor. He’s portrayed as simply
See full article at DailyDead »

Niche Labels Fill Film Music Void

Niche Labels Fill Film Music Void
A sold-out crowd filled the Warner Grand Theater in San Pedro, Calif., earlier this summer to celebrate the 35th anniversary of specialty record label Varese Sarabande. Among the parade of film music stars, composers Hans Zimmer and Danny Elfman lent their weight and support to the gathering of Varese’s niche customer base — fans and collectors of original soundtracks.

And while Varese is considered the gold standard of boutique soundtrack labels, it has been overtaken in its side mission of restoring and releasing archival scores for older films by several younger upstarts that make it their primary focus.

Bay Area label Intrada, founded by Douglass Fake in 1985, began by releasing contemporary soundtracks, Varese’s main business, but moved into archival releases in 1988. Today it is one of the more established and successful labels aimed at collectors, having put out highly sought-after titles such as Alan Silvestri’s “Back to the Future,
See full article at Variety - Film News »

After Earth: keeping it in the family

Almost as old as Hollywood itself, nepotism has had the movie industry stitched up for decades and Will Smith's family are keeping up the tradition

Seriousfacing its way into cinemas this weekend, After Earth is the $130m father-son action movie that fans of slightly icky familial relationships have been waiting for. Set on a post-apocalyptic Earth 1,000 years after its abandonment by humankind, the film stars Will Smith and his real-life son Jaden Smith, has a story by Will Smith, and is produced by Will Smith, his wife Jada Pinkett Smith and her brother Caleeb Pinkett. And people say Hollywood is too incestuous.

The Smiths have been cultivating their showbiz dynasty for more than a decade now, ever since a four-year-old Jaden was cast in All Of Us, an autobiographical sitcom produced by his parents. (Layabout sibling Willow was a doddering six-year-old by the time her own acting career began). Still,
See full article at The Guardian - Film News »

Five Forgotten Gems From Five Great Movie Music Composers

  • SoundOnSight
Anybody who has ever been to a high school reunion (and I’ve been to my share) will tell you that the calendar and the clock can be incredibly cruel (particularly when combined with the long-term effects of gravity, but let’s not go there).

Time punishes creative works as well. Some work grows dated, stale, stiff. Time and the evolving form of the given art leaves a once vibrant and exciting work behind looking dead and obsolete.

More cruel, perhaps, is work that is simply…forgotten. Not for any good reason. Good as it was, maybe it was simply not successful enough to lodge very deeply in the popular consciousness; working well enough in its day, but soon lost among the ever-growing detritus of a lot of other pieces of yesterday.

Movie music is particularly vulnerable to the cruelties of time. Outside of the form’s devotees, it rarely
See full article at SoundOnSight »

Farewell, My Lovely

(Dick Richards, 1975, Park Circus, 15)

Raymond Chandler's second Philip Marlowe novel has been filmed three times: first in disguise as the 1942 B-movie The Falcon Takes Over, next as the excellent noir thriller Murder My Sweet (1944) starring Dick Powell, and third as this elegant neo-noir with a perfectly cast Robert Mitchum, at 58 the oldest actor to play Marlowe. It appeared during a period of nostalgia for the interwar years (along with The Great Gatsby, The Sting, The Way We Were, Chinatown) and is set in 1941 during the months leading up to Pearl Harbor. To a bluesy score by David Shire, Marlowe goes down the mean streets of a Los Angeles lit by John A Alonzo to resemble paintings by Edward Hopper. He's searching for Velma, the missing moll of gangster Moose Malloy, and following Joe Dimaggio's hitting streak for the Yankees. He's a weary figure, aware that his chivalric values
See full article at The Guardian - Film News »

Blu-ray Release: Francis Ford Coppola 5-Film Collection

  • Disc Dish
Blu-ray Release Date: Dec. 4, 2012

Price: Blu-ray $39.99

Studio: Lionsgate

Francis Ford Coppola fans who’ve haven’t been keeping up with the great filmmaker’s works on Blu-ray get a chance to catch up with the well-priced release of Francis Ford Coppola 5-Film Collection Blu-ray. A quintet the five-time Academy Award winner’s movies, all of which have been previously issued on Blu-ray, are being issued together for the first time as a high-definition boxed set, complete with a slew of extras.

Here’s a breakdown of the musical, drama and war films that comprise the collection, along with their bonus features:

Apocalypse Now (1979)

Apocalypse Now Redux (2001)

This is the definitive version of Francis Ford Coppola’s stunning vision of the heart of darkness in all of us, re-edited and re-mastered with 49 minutes of additional footage.

Audio commentary by Director Francis Ford Coppola

Nastassia Kinski grows on Frederic Forrest in Coppola's One from the Heart.
See full article at Disc Dish »
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