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5 items from 2014

Making the Music of ‘Dexter’ with Scissors and Bones

26 June 2014 10:00 AM, PDT | | See recent FilmSchoolRejects news »

The montage that opens every episode of Dexter is an interesting example of how showing every day images from certain angles can make innocuous actions suddenly look like potential crime scenes. Paired with composer Rolfe Kent‘s creepy theme full of Asian and European instruments like a ukulele, bouzouki and saz, Dexter‘s open is the perfect way to prepare to dive inside of the mind of a serial killer who ties his shoes just like you or me. But the violent images in the open (and the show itself) also bleed into Dexter‘s score as created by composer Daniel Licht. Dexter (Michael C. Hall) prefers a surgical approach when dealing with his victims, and Licht reflects this preference in the show’s score by taking surgical instruments and turning them into musical instruments that pair surprisingly well with the more classical orchestration. Using scissors and knives as percussive elements helped Licht give Dexter the ominous »

- Allison Loring

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'Dexter' composer Daniel Licht scores with 'The Red Road'

18 June 2014 11:30 AM, PDT | Gold Derby | See recent Gold Derby news »

Daniel Licht was "really happy" to be given the job of composing the main title theme music for the new Sundance small-town drama “The Red Road" as well as the score for each of its six episodes. And just why was this extra work so important to him? As he explained during our recent webcam chat (watch below), he had spent eight years scoring “Dexter” but was not responsible for that drama’s Emmy-nominated main title theme. -Break- Dish all the Emmy races right now in our notorious forums He admitted to being “a little disappointed” at being brought onto that crime drama after Showtime had commissioned Rolfe Kent to compose the main title tune. However, he was quick to add, “Rolfe did a great job, so kudos to him.” Licht is set to soon begin work on the second season of “The Red Road,” which he explains has a “completely different” score than “Dexter, »

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Labor Day – The Review

31 January 2014 4:58 AM, PST | | See recent news »

Were it better, Labor Day might well strike a seductive chord for romantics: a dreamy escaped convict hovers over a mother and son he’s taken hostage over a holiday weekend. One so full of love, cooking, and romance, it will change their lives forever. But the film, based on the Joyce Maynard novel, is so trapped in a dreary Nicolas Sparks-style cliche-ridden universe that we know the entire plot from the start to the over-sentimental climax. Labor Day stars Kate Winslet and Josh Brolin, two usually solid actors, but they’re wasted as Labor Day neither raises the pulse nor unintentionally entertains and while some may eat this mush up, most will see it as a tremendous disappointment from writer/director Jason Reitman (of Juno and Up In The Air fame).

Labor Day centers on 13-year-old Henry Wheeler, who cares for his mopey, reclusive mother Adele (Winslet) after his »

- Tom Stockman

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‘Labor Day’ a rare misfire from Jason Reitman, Kate Winslet, and Josh Brolin

30 January 2014 9:05 PM, PST | SoundOnSight | See recent SoundOnSight news »

Labor Day

Written and directed by Jason Reitman

USA, 2013

It’s all too fitting that, at one point midway through Labor Day, two of the lead characters are sitting in front of a TV, watching a network broadcast of Steven Spielberg’s sci-fi classic Close Encounters of the Third Kind. This film’s writer-director, Jason Reitman, no doubt has been inspired throughout his career by Spielberg, as so many younger directors have been. But more importantly, the alien behavior that so inflames the imagination of the characters populating Close Encounters is analogous to the completely outlandish and illogical behavior exhibited throughout Labor Day, a mawkish and painfully sincere melodrama that’s mere inches away from being an outright parody of the Nicholas Sparks subgenre of recent years.

Kate Winslet plays Adele, a now-single mother after her husband (Clark Gregg) left her in the midst of a personal and physical crisis »

- Josh Spiegel

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Labor Day Review

30 January 2014 4:09 PM, PST | We Got This Covered | See recent We Got This Covered news »

Director Jason Reitman broke through in the business with an impressive trio of sharply written stories about colourful, independent characters – Thank You for Smoking, Juno and Up in the Air. Although these first features will ensure Reitman keeps a good batting average as he moves forward, the director is starting to scale back into less inspired choices. Case in point: Labor Day, a dopey and implausible drama about a woman’s Stockholm syndrome that is one third intimate Alice Munro and two thirds a Nicholas Sparks treacle.

It is perplexing to think about what Reitman saw in Joyce Maynard’s best-selling piece of domestic sap, or what Kate Winslet and Josh Brolin found on his page that drew them into these incompletely drawn characters. Although Labor Day is made with skill and performed with full-bodied conviction, the film features one of the strangest big-screen romances in recent memory, one overwrought »

- Jordan Adler

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