2 items from 2016
Now, I want to preface this piece by saying that I am a massive fan of Hans Zimmer, truly one of the most innovative and compelling forces in film music (when he chooses to be). From his revolutionary synth breakout with the likes of Rain Man and Driving Miss Daisy in the 1980s to the thunderous action of Backdraft and his multi-faceted collaborations with Ridley Scott (Thelma and Louise, Gladiator, Hannibal et al), Zimmer is a superb storyteller who doesn’t deserve the mud that is often slung at him. On tour in the UK at the moment, Zimmer has recently courted a lot of press attention with his high-profile announcement that he is to ‘retire’ from scoring superhero movies.
And this brings me to Batman v Superman: Dawn of Justice. »
- Sean Wilson
Hal Ashby remains one of the most curious auteurs to rise out of the prosperous 1970s American studio era, his titles maintaining an indelible mark on the glorious period of filmmaking, ranging from 1971’s Harold & Maude to 1979’s Being There. The 1980s weren’t quite as kind, and Ashby, like a passel of other mavericks of the decade (Altman comes immediately to mind), stumbled into the age of excess, and in this particular case, eventually oblivion. On the surface, most of Ashby’s films promise to be comedies, quirky or otherwise, but he eventually reveals those expectations to be a superficial veneer, his characters mostly downtrodden sorts who are either bitterly disillusioned or resigned to their own dysthymic worldview. One of his greatest achievements was his third effort, 1973’s The Last Detail, pairing Ashby with another icon of the era, Jack Nicholson, himself in the midst of his own golden »
- Nicholas Bell
2 items from 2016
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