10 items from 2015
The film editing branch of the Academy used to offer up adventurous options like “Basic Instinct,” “Hoop Dreams,” “Speed,” “Crimson Tide,” “Seven,” “Air Force One” and “Out of Sight,” best picture prospects be damned. Not so much anymore. Every now and then we’ll get a “Girl with the Dragon Tattoo” here, a “United 93” there, but mostly — and perhaps even understandably, given the expanded top field of the last six seasons — this race has shifted to a place of mirroring the best picture category.
With that in mind, this year’s top contenders are sure to figure in as always. At the top of the list of anticipations is Alejandro G. Iñárritu’s “The Revenant,” cut by Oscar-winner Stephen Mirrione (“Traffic”). The film was shot in sequence, which is unique, particularly for a project of this scale and scope. The stitching technique employed on Iñárritu’s “Birdman” was brought into the equation as well. »
- Kristopher Tapley
After crafting the scores for Blackhat, The Town, Kingdom of Heaven, The East, and more, composer Harry Gregson-Williams reteamed with Ridley Scott for The Martian, the film adaptation of Andy Weir‘s best-selling novel. It tells the story of Astronaut Mark Watney (played brilliantly and charismatically by Matt Damon — check out our review here) as he struggles to get off the Red Planet.
We had the chance to recently speak with him about his work and the composer was quite happy with the score and eager to hear of our fondness for both the film and the music. In his words, jokingly of course, if you were to like some of the films to which he provided music, you may be in the minority. This time however, we’re willing to bet that nearly everyone on the planet will be in the majority and love The Martian.
We truly enjoyed catching up with Harry, »
- Marc Ciafardini
Directed by Ridley Scott
Though it boasts the spectacle we’ve come to expect from sci-fi blockbusters, The Martian is a glorious celebration of scientific endeavor and problem solving. Director Ridley Scott shows amazing restraint as he scales back the pyrotechnics and emphasizes human ingenuity. The result is a crowd-pleasing adventure that entertains, engages, and inspires. Smart, accessible sci-fi at its best.
You don’t need a doctorate in astrophysics to understand the premise of The Martian. We open with the frantic evacuation of the first Martian outpost, as six resident astronauts scramble to escape a massive storm. Amidst the swirling red chaos, Astronaut Mark Watney (Matt Damon) is clipped by debris and blown beyond the reach of his crewmates. When a desperate search yields no trace of Watney, the team leader, Commander Lewis (Jessica Chastain »
- J.R. Kinnard
The best way to describe The Martian would be Castaway crossed with Apollo 13 with a sprinkling of Gravity and a hint of Interstellar. However, there’s no hint of any kind of Alien in this Ridley Scott drama/ adventure, which once again proves that the British director is always at his best when he’s up in space.
Matt Damon stars as Mark Watney, a astronaught and botanist who gets left behind on the Mars following a horrific storm. With the rest of his crew on their way home, presuming his death, Watney use his scientific skills to survive on the hostile planet while Nasa, and then ultimately his old crew, battle against the odds to ‘Bring Him Home.’
Scott has once again managed to »
- Paul Heath
Ridley Scott’s new film runs the gamut of emotion, and takes in a variety of landscapes and textures. The sci-fi thriller sweeps us from the hostile, storm-whipped surface of Mars to the blue skies of Earth, from the silence of a space ship travelling through space to the hubbub of Mission Control at Nasa. Matt Damon’s astronaut protagonist Mark Watney, meanwhile, swerves from confusion to euphoria to blind panic as he battles to survive, alone, on the surface of the angry red planet.
British composer Harry Gregson-Williams created the similarly varied music for The Martian, with the tribulations of its hero underscored by Gregson-Williams’ mix of the soaring and the intimate. When we sat down to speak to the composer, he was still in the midst of »
If the last few years are any indication, Hollywood has a revitalized interest in turning their head towards the vastness of space. Rather than a focus on alien-occupied science-fiction, we’ve seen a string of major-budget fall releases that question our place in the universe and the boundless exploration therein. The latest in this category, Ridley Scott‘s The Martian, lacks the wall-to-wall tension of Alfonso Cuarón’s Gravity or the ambition of Christopher Nolan’s Interstellar, but for the most part, it’s a rollicking space procedural that depends on some logic, and a great deal of luck.
Adapted by Drew Goddard from Andy Weir‘s originally self-published novel, the story finds Matt Damon‘s Mark Watney as a lone astronaut/botanist on Mars, deserted after his Ares 3 crew presumed him dead when an evacuation went wrong. Despite his miraculous survival — one of the first of many fortuitous occurrences — this presumption soon reaches Earth, »
- Jordan Raup
Based on a best-selling novel by Andy Weir, and helmed by director Ridley Scott, the cast includes Jessica Chastain, Kristen Wiig, Kate Mara, Michael Pena, Jeff Daniels, Chiwetel Ejiofor, and Donald Glover.
The film will be released in 3D on November 25, 2015.
During a manned mission to Mars, Astronaut Mark Watney (Matt Damon) is presumed dead after a fierce storm and left behind by his crew. But Watney has survived and finds himself stranded and alone on the hostile planet. With only meager supplies, he must draw upon his ingenuity, wit and spirit to subsist and find a way to signal to Earth that he is alive.
Millions of miles away, Nasa and a team of international scientists work tirelessly to bring “the Martian” home, while his crewmates concurrently plot a daring, »
- Michelle McCue
'JFK' movie with Kevin Costner as Jim Garrison 'JFK' assassination movie: Gripping political drama gives added meaning to 'Rewriting History' If it's an Oliver Stone film, it must be bombastic, sentimental, clunky, and controversial. With the exception of "clunky," JFK is all of the above. It is also riveting, earnest, dishonest, moving, irritating, paranoid, and, more frequently than one might expect, outright brilliant. In sum, Oliver Stone's 1991 political thriller about a determined district attorney's investigation of the assassination of U.S. president John F. Kennedy is a slick piece of propaganda that mostly works both dramatically and cinematically. If only some of the facts hadn't gotten trampled on the way to film illustriousness. With the exception of John Williams' overemphatic score – Oliver Stone films need anything but overemphasis – JFK's technical and artistic details are put in place to extraordinary effect. Joe Hutshing and Pietro Scalia's editing »
- Andre Soares
Now this is a list that could result in a lot of fascinating dissection and thanks to HitFix it comes to our attention almost three years after it was originally released back in 2012, celebrating the Motion Picture Editors Guild's 75th anniversary. Over at HitFix, Kris Tapley asks, "Is this news to anyone elsec" Um, yes, I find it immensely interesting and a perfect starting point for anyone looking to further explore the art of film editing. In an accompanying article we get the particulars concerning what films were eligible and how films were to be considered: In our Jan-feb 12 issue, we asked Guild members to vote on what they consider to be the Best Edited Films of all time. Any feature-length film from any country in the world was eligible. And by "Best Edited," we explained, we didn't just mean picture; sound, music and mixing were to be considered as well. »
- Brad Brevet
A random bit of researching on a Tuesday night led me to something I didn't know existed: The Motion Picture Editors Guild's list of the 75 best-edited films of all time. It was a feature in part celebrating the Guild's 75th anniversary in 2012. Is this news to anyone else? I confess to having missed it entirely. Naturally, I had to dig in. What was immediately striking to me about the list — which was decided upon by the Guild membership and, per instruction, was considered in terms of picture and sound editorial as opposed to just the former — was the most popular decade ranking. Naturally, the 1970s led with 17 mentions, but right on its heels was the 1990s. I wouldn't have expected that but I happen to agree with the assessment. Thelma Schoonmaker's work on "Raging Bull" came out on top, an objectively difficult choice to dispute, really. It was so transformative, »
- Kristopher Tapley
10 items from 2015
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