Macho sports-movie tropes meet with bright chick-flick framing to curious effect in “Yolo,” either an ostensible boxing drama that doesn’t pick up the gloves until the third act, or a misfit romcom that takes a late and unusual turn toward transformational self-help territory. Chinese audiences have been delighted by either formulation, as Jia Ling’s second feature as director-star — following 2021’s popular time-travel comedy “Hi, Mom” — has racked up the year’s second-highest global gross so far, mostly on the strength of its domestic receipts. That’s been enough to secure it an international release through Sony, but “Yolo” is likelier to bemuse outside viewers unfamiliar with Jia’s persona as a celebrity comedian — and her extreme weight-loss journey while making the film, a narrative that powered its publicity on home turf.
“Yolo” is itself a work of cultural translation, adapted as it is from Japanese director Masaharu Take...
“Yolo” is itself a work of cultural translation, adapted as it is from Japanese director Masaharu Take...
- 4/18/2024
- by Guy Lodge
- Variety Film + TV
From left: Dev Patel, Vipin Sharma in Monkey ManPhoto: Universal Studios
Overlook the training montage sequence in Monkey Man at your own pop culture and movie peril. Kid (Dev Patel) aims to avenge his mother’s death by vanquishing the police chief (Sikander Kher as Rana Singh) who raped and...
Overlook the training montage sequence in Monkey Man at your own pop culture and movie peril. Kid (Dev Patel) aims to avenge his mother’s death by vanquishing the police chief (Sikander Kher as Rana Singh) who raped and...
- 4/17/2024
- by Ian Spelling
- avclub.com
Dan Wallin, the music scoring engineer who recorded such classic film scores as “Spartacus,” “Bullitt,” “The Wild Bunch” and “Out of Africa,” died early Wednesday in Hawaii. He was 97.
Twice Oscar-nominated for best sound (1970’s “Woodstock” and 1976’s “A Star Is Born”), he won a 2009 Emmy for sound mixing on the Academy Awards telecast and received two additional Emmy nominations in the sound mixing category.
But it was Wallin’s skill behind the console, recording and mixing musical scores for movies and TV, that won him legions of fans among nearly all of Hollywood’s top composers and ensured steady employment for more than half a century.
He recorded the music for an estimated 500 films, including those for “Bonnie and Clyde,” “Cool Hand Luke” and “Finian’s Rainbow” in the 1960s; “The Way We Were,” “Blazing Saddles,” “Nashville,” “King Kong” and “Saturday Night Fever” in the 1970s; “Somewhere in Time,” “The Right Stuff...
Twice Oscar-nominated for best sound (1970’s “Woodstock” and 1976’s “A Star Is Born”), he won a 2009 Emmy for sound mixing on the Academy Awards telecast and received two additional Emmy nominations in the sound mixing category.
But it was Wallin’s skill behind the console, recording and mixing musical scores for movies and TV, that won him legions of fans among nearly all of Hollywood’s top composers and ensured steady employment for more than half a century.
He recorded the music for an estimated 500 films, including those for “Bonnie and Clyde,” “Cool Hand Luke” and “Finian’s Rainbow” in the 1960s; “The Way We Were,” “Blazing Saddles,” “Nashville,” “King Kong” and “Saturday Night Fever” in the 1970s; “Somewhere in Time,” “The Right Stuff...
- 4/10/2024
- by Jon Burlingame
- Variety Film + TV
As the American Federation of Musicians and the Alliance of Motion Picture and Television Producers resumed contract negotiations Wednesday, the AFM has released statistics that shed light on the changing nature of employment for industry musicians who play on many of the films and TV shows now being made.
When a film or TV show that features AFM musicians makes it to a secondary market — airing on broadcast or cable, released on home video, or even transitioning to a streaming service — that triggers a residual payment to actors, writers, directors and craftspeople, essentially sharing in the profits of a successful project.
But the studios have steadfastly resisted granting musicians a residual payment for original series, movies and other programs that are made specifically for streaming services. It’s a key demand, along with protections against the use of AI, that the AFM is making in this round of negotiations, which began Jan.
When a film or TV show that features AFM musicians makes it to a secondary market — airing on broadcast or cable, released on home video, or even transitioning to a streaming service — that triggers a residual payment to actors, writers, directors and craftspeople, essentially sharing in the profits of a successful project.
But the studios have steadfastly resisted granting musicians a residual payment for original series, movies and other programs that are made specifically for streaming services. It’s a key demand, along with protections against the use of AI, that the AFM is making in this round of negotiations, which began Jan.
- 2/21/2024
- by Jon Burlingame
- Variety Film + TV
Composer Joseph Shirley has experienced a lot of success over the last couple of years, including writing the scores for Star Wars shows “The Book of Boba Fett” and Season 3 of “The Mandalorian.” But composing music for “Creed III” was a “full circle moment,” Shirley tells Gold Derby in an exclusive video interview because he had worked alongside composer Ludwig Goransson on the first two “Creed” films as an assistant.
“What we wanted to do with ‘Creed III’ was to build out its texture and flavor and sound in the score that, at times, maybe is self-referential to other ‘Creed’ movies but still takes a step forward in pushing that that ‘Creed’ sound along,” Shirley says.
The third film in the blockbuster “Rocky” franchise included many firsts beyond just Shirley’s ascendance to the title of composer. “Creed III” marked the directorial debut of star Michael B. Jordan and is...
“What we wanted to do with ‘Creed III’ was to build out its texture and flavor and sound in the score that, at times, maybe is self-referential to other ‘Creed’ movies but still takes a step forward in pushing that that ‘Creed’ sound along,” Shirley says.
The third film in the blockbuster “Rocky” franchise included many firsts beyond just Shirley’s ascendance to the title of composer. “Creed III” marked the directorial debut of star Michael B. Jordan and is...
- 12/1/2023
- by Christopher Rosen
- Gold Derby
The legendary test pilot Chuck Yeager took Philip Kaufman, the writer/director of the lauded 1983 space race epic “The Right Stuff,” for a ride in his plane during production. And at one point the man who broke the sound barrier in 1947 turned over the controls to Kaufman as he also turned off the engine. “He thought it would scare me being one of the ‘Hollywood’ guys,” Kaufman told me in a 2003 L.A. Times interview. “I just sort of looked at him and smiled, because I knew there was something blessed about this man. The funny thing about Yeager is that he would drive out to the sets, particularly in the high desert, and he would not go above the speed limit. He was the fastest man alive, but he wouldn’t go over 55 because he knew how dangerous it was on the highway”
Barbara Hershey, who played Yeager’s wife Glennis,...
Barbara Hershey, who played Yeager’s wife Glennis,...
- 10/24/2023
- by Susan King
- Gold Derby
Sometimes we just need to see a flick that gets us motivated. To get us off our “duff”…after we watch it, of course. That was certainly the case with the original Rocky series which carried over into the current Creed franchise (who hasn’t heard Bill Conti’s score as they begin a run). Yes, the sports genre can be inspiring, plus you can double that when it’s a true tale, a “sports-biopic”. But could you triple the “push” when the movie’s subject is still with us? It’s a good possibility when a couple of superb actresses combine talents with two Oscar-winning documentary filmmakers to tell the tale of the long-distance swimming legend known as Nyad.
This film begins with a montage of archival footage of the tile champion, as she competes in tournaments, breaks records, and is interviewed by the undisputed “king of late night...
This film begins with a montage of archival footage of the tile champion, as she competes in tournaments, breaks records, and is interviewed by the undisputed “king of late night...
- 10/20/2023
- by Jim Batts
- WeAreMovieGeeks.com
August is here and with it a whole host of new movies to watch on streaming has arrived. It can be daunting thumbing through the lists of what’s new on Netflix, Prime Video, Max, Hulu, Disney+, Peacock and Paramount+, and that’s where we come in handy. Below, we’ve put together a curated list of some of the best new movies to stream this month, including brand new originals like Gal Gadot’s actioner “Heart of Stone,” new releases making their streaming debut like “Guardians of the Galaxy Vol. 3” and excellent library titles such as David Fincher’s “Zodiac.”
You’ll find all of that and more in our curated list of the best new movies to stream in August.
“Mixtape” Paramount+
Paramount+ – Aug. 1
This new documentary details how mix tape culture helped hip-hop culture enter the mainstream. From the official press release: “Before radio play, the internet,...
You’ll find all of that and more in our curated list of the best new movies to stream in August.
“Mixtape” Paramount+
Paramount+ – Aug. 1
This new documentary details how mix tape culture helped hip-hop culture enter the mainstream. From the official press release: “Before radio play, the internet,...
- 8/18/2023
- by Drew Taylor
- The Wrap
In the pantheon of great movie scenes, one of the greatest of all time has to be the iconic training montage from the first Rocky. Think about it. Is there a more iconic moment in cinema than the shot of Sylvester Stallone’s Rocky Balboa running up those 72 stone steps that lead to the entrance of the Philadelphia Museum of Art? How many people make this pilgrimage each and every year to run up the stairs, channeling the Italian Stallion himself, and throwing their arms in the air in victory? Most people probably do it while listening to Bill Conti’s “Gotta Fly Now” on their AirPods. When they get to the top of those steps, they’re greeted by a Rocky statue, which ranks among the city’s greatest landmarks.
It’s such a great scene that here at JoBlo, we’re taking the opportunity to use it as...
It’s such a great scene that here at JoBlo, we’re taking the opportunity to use it as...
- 4/16/2023
- by Chris Bumbray
- JoBlo.com
What do we want out of a training montage?
I mean that question seriously. What, do movie viewers truly want out of a sequence where the main character improves, grows stronger, and collects a new set of skills in a matter of minutes as the magic of movie editing compresses hours (even days or weeks) of backbreaking, bone-crushing work into a few shots? If you were to quiz the pop culture zeitgeist at large, the answer would be clear: bombast. The big picture view of the training montage is one that is inherently silly, one that is easily parodied, one that suggests anyone can get better at anything as long as they have some great music and some rapid cuts of them leaping from one activity to another. Training montages are silly, pop culture tells us, and the zanier and wilder and bigger they are, the more we remember them.
I mean that question seriously. What, do movie viewers truly want out of a sequence where the main character improves, grows stronger, and collects a new set of skills in a matter of minutes as the magic of movie editing compresses hours (even days or weeks) of backbreaking, bone-crushing work into a few shots? If you were to quiz the pop culture zeitgeist at large, the answer would be clear: bombast. The big picture view of the training montage is one that is inherently silly, one that is easily parodied, one that suggests anyone can get better at anything as long as they have some great music and some rapid cuts of them leaping from one activity to another. Training montages are silly, pop culture tells us, and the zanier and wilder and bigger they are, the more we remember them.
- 3/2/2023
- by Jacob Hall
- Slash Film
"Rocky IV" held the mantle as the highest-grossing sports movie for decades, solidifying its status as one of the best entries in the storied franchise that has followed Rocky Balboa from the hard streets of Philly to the cold mountain tops of Siberia. The Oscar-winning original, and "Rocky II" to an extent, kept Rocky (Sylvester Stallone) grounded in an inspirational drama about a determined underdog who defied all odds to get a shot at the title. In "Rocky," the Italian Stallion went from a publicity stunt for Apollo Creed to being reevaluated as a serious contender. The public at large and the entire sports world woke up to Rocky Balboa and they were suddenly forced to take him seriously.
The audience watching "Rocky" already knew his true character way before he ever entered the ring, because we saw the struggles of his solitary, lonely life and the internal battles he was already fighting.
The audience watching "Rocky" already knew his true character way before he ever entered the ring, because we saw the struggles of his solitary, lonely life and the internal battles he was already fighting.
- 3/2/2023
- by Drew Tinnin
- Slash Film
Okay, so you're about to read a thousand-odd words about why "Rocky III" features the greatest training montage of all time. But before you continue, just stop right now and listen to this song.
Welcome back! I hope you enjoyed listening to one of the greatest, most iconic, most inspirational rock tracks ever recorded. Look, the entirety of "Rocky III" could be a single, long, and unbroken take of Sylvester Stallone pumping iron in a dimly lit gym, and as long as Survivor's "Eye of the Tiger" was playing underneath, it would still be one of the best movies of all time.
Yes, it's true that "Eye of the Tiger," while used multiple times during the movie, does not feature during the training montage. But oh, the training sequence in "Rocky III" is gloriously, wondrously, just as good as that badass song. So come along as we unveil the...
Welcome back! I hope you enjoyed listening to one of the greatest, most iconic, most inspirational rock tracks ever recorded. Look, the entirety of "Rocky III" could be a single, long, and unbroken take of Sylvester Stallone pumping iron in a dimly lit gym, and as long as Survivor's "Eye of the Tiger" was playing underneath, it would still be one of the best movies of all time.
Yes, it's true that "Eye of the Tiger," while used multiple times during the movie, does not feature during the training montage. But oh, the training sequence in "Rocky III" is gloriously, wondrously, just as good as that badass song. So come along as we unveil the...
- 3/2/2023
- by Bill Bria
- Slash Film
With "Creed," Ryan Coogler took the "Rocky" mythos and created something that felt both comfortably familiar and refreshingly new. I'm from Philadelphia, and I can distinctly remember seeing "Creed" opening weekend with a Philly crowd. Near the end of the film, there's a moment where a knocked-down Adonis Creed (Michael B. Jordan) gets back on his feet as Bill Conti's familiar "Rocky" theme music kicks in. At that moment, the audience — myself included — lost their damn minds, cheering, clapping, slamming their fists down on the armrests of the seats. It felt electric, and it only made the entire film more endearing.
Now here we are with "Creed III," the third entry in what has become a new franchise. One look at the "Rocky" series can tell you this is potentially dangerous ground. While the first "Rocky" is a gritty, down-to-earth drama about a palooka about to take his big shot,...
Now here we are with "Creed III," the third entry in what has become a new franchise. One look at the "Rocky" series can tell you this is potentially dangerous ground. While the first "Rocky" is a gritty, down-to-earth drama about a palooka about to take his big shot,...
- 2/24/2023
- by Chris Evangelista
- Slash Film
There are some movies whose legacy you can't speak on without also mentioning the composers that gave them their signature sound. John Williams is just as vital to "E.T. the Extra-Terrestrial" as Steven Spielberg is. What would "The Good, the Bad, and the Ugly" even feel like without the great Ennio Morricone? In the same vein, while "Rocky," the underdog sports drama turned Best Picture winner, may be Sylvester Stallone's baby, it's impossible to imagine the triumphant highs landing as hard as they do without Bill Conti.
Conti made a career of providing the sound for "The Right Stuff," "The Karate Kid" trilogy, and all of the "Rocky" movies, barring "Rocky IV." The series had associated itself with plenty of musical talent throughout the decades, but there's something about Conti's presence, especially in that first film, that feels utterly timeless. The "Rocky" theme, otherwise known as "Gonna Fly Now,...
Conti made a career of providing the sound for "The Right Stuff," "The Karate Kid" trilogy, and all of the "Rocky" movies, barring "Rocky IV." The series had associated itself with plenty of musical talent throughout the decades, but there's something about Conti's presence, especially in that first film, that feels utterly timeless. The "Rocky" theme, otherwise known as "Gonna Fly Now,...
- 1/31/2023
- by Matthew Bilodeau
- Slash Film
Exclusive: Academy Award and 3x Emmy winner Bill Conti (The Right Stuff) has been tapped to pen the score for Roselli’s Way, a new biopic on Italian American pop singer Jimmy Roselli.
The film scripted by J.D. Zeik (Ronin) will watch as Roselli looks back on a career, in which he was forever the underdog in comparison to contemporary Frank Sinatra, among others.
Michael Besman, James Deutch, Roger Birnbaum and Mark Kimsey will produce for Emp Productions, along with Spike Seldin and Neil Jesuele of Remarkable Media, and veteran music exec and record producer Ron Fair, who will also serve as music supervisor. James Ivory and Stephen Dembitzer will serve as exec producers. A director is not yet attached to the project, though the casting search for its title character is now under way.
“The story behind one of the greatest voices of his era needs to be told,...
The film scripted by J.D. Zeik (Ronin) will watch as Roselli looks back on a career, in which he was forever the underdog in comparison to contemporary Frank Sinatra, among others.
Michael Besman, James Deutch, Roger Birnbaum and Mark Kimsey will produce for Emp Productions, along with Spike Seldin and Neil Jesuele of Remarkable Media, and veteran music exec and record producer Ron Fair, who will also serve as music supervisor. James Ivory and Stephen Dembitzer will serve as exec producers. A director is not yet attached to the project, though the casting search for its title character is now under way.
“The story behind one of the greatest voices of his era needs to be told,...
- 1/30/2023
- by Matt Grobar
- Deadline Film + TV
"Rocky" has endured as one of the most uplifting sports films of all time thanks in large part to its heartfelt portrayal of two social misfits falling haltingly in love as one of them trains for an unlikely, yet plausible shot at the heavyweight boxing title. Sylvester Stallone and Talia Shire give lovely, lived-in performances that are painful to watch at times because Rocky has no idea how awkwardly his gregariousness lands, while Adrian seems terrified that anyone would find her worthy of affection.
For most of its runtime, "Rocky" is a human drama about losers. It soars to life during its Bill Conti-scored training montage that explodes the film into its exhilarating third act. Interestingly, the final match isn't all that long. From the opening bell to the end of the fifteenth round, it occupies a scant eight-and-a-half minutes of screen time. But it feels like trench warfare...
For most of its runtime, "Rocky" is a human drama about losers. It soars to life during its Bill Conti-scored training montage that explodes the film into its exhilarating third act. Interestingly, the final match isn't all that long. From the opening bell to the end of the fifteenth round, it occupies a scant eight-and-a-half minutes of screen time. But it feels like trench warfare...
- 1/13/2023
- by Jeremy Smith
- Slash Film
John G. Avildsen was an expert in the art of the feel-good finale. He knew how to end a movie on a high, and send the audience floating on air out of the theater. He did it with "Rocky" in 1976, and again in 1984 with "The Karate Kid." Once the big fight is over in both these films, Avildsen lets Bil Conti's music crescendo, cuts to a close-up, freezes the frame and, boom, credits. How effective is this? Both movies were also blockbusters that launched franchises that remain active and hugely-popular to this day, with even more spinoffs and sequels on the way.
It's hard to imagine "Rocky," in particular, ending any other way, but Avildsen and Sylvester Stallone (who wrote the movie's screenplay in addition to starring as the Italian Stallion) had a decidedly different idea for the original conclusion -- one that might've sabotaged the sweet-natured film and cost...
It's hard to imagine "Rocky," in particular, ending any other way, but Avildsen and Sylvester Stallone (who wrote the movie's screenplay in addition to starring as the Italian Stallion) had a decidedly different idea for the original conclusion -- one that might've sabotaged the sweet-natured film and cost...
- 1/12/2023
- by Jeremy Smith
- Slash Film
There is nothing like a good underground story, especially an underground boxing story. There is no thrill quite like watching a boxer becoming stronger, facing adversity, and eventually being the last one standing in the ring.
There are many great sports anime about virtually every sport out there, from association football and volleyball to ping pong and more. But if you want an underdog sports story that mixes the heightened reality of anime with grounded animation, real-life techniques, and a rare story that moves beyond the typical high-school setting, there is none better than "Hajime no Ippo."
The show follows Ippo Makunouchi, a soft-spoken, gentle puppy of a guy who gets bullied at school because of how well-mannered he is. Things change when he meets a professional boxer named Takamura, who teaches Ippo about boxing. What starts as a way to defend himself and gain confidence evolves into a passion and a career,...
There are many great sports anime about virtually every sport out there, from association football and volleyball to ping pong and more. But if you want an underdog sports story that mixes the heightened reality of anime with grounded animation, real-life techniques, and a rare story that moves beyond the typical high-school setting, there is none better than "Hajime no Ippo."
The show follows Ippo Makunouchi, a soft-spoken, gentle puppy of a guy who gets bullied at school because of how well-mannered he is. Things change when he meets a professional boxer named Takamura, who teaches Ippo about boxing. What starts as a way to defend himself and gain confidence evolves into a passion and a career,...
- 8/26/2022
- by Rafael Motamayor
- Slash Film
Monty Norman, the composer behind the iconic James Bond theme, has died at the age of 94.
A statement posted on his official website said, “It is with sadness we share the news that Monty Norman died on 11th July 2022 after a short illness.”
Norman most famously composed the score for “Dr. No,” the 1962 James Bond film starring Sean Connery. His theme for James Bond, as arranged by fellow Englishman John Barry, would go on to become the theme for the entire franchise.
As Norman said on his site, “We recognized we needed a fresh, contemporary sound for the main theme, and in the up-and-coming young John Barry we found a wonderful arranger, so the whole thing worked very well.”
But controversy erupted decades later when Barry claimed authorship of the theme, resulting in Norman suing the Times of London for libel over a 1997 story (“Theme Tune Wrangle Has 007 Shaken and...
A statement posted on his official website said, “It is with sadness we share the news that Monty Norman died on 11th July 2022 after a short illness.”
Norman most famously composed the score for “Dr. No,” the 1962 James Bond film starring Sean Connery. His theme for James Bond, as arranged by fellow Englishman John Barry, would go on to become the theme for the entire franchise.
As Norman said on his site, “We recognized we needed a fresh, contemporary sound for the main theme, and in the up-and-coming young John Barry we found a wonderful arranger, so the whole thing worked very well.”
But controversy erupted decades later when Barry claimed authorship of the theme, resulting in Norman suing the Times of London for libel over a 1997 story (“Theme Tune Wrangle Has 007 Shaken and...
- 7/11/2022
- by Jon Burlingame and Jazz Tangcay
- Variety Film + TV
Vangelis, whose instantly recognizable musical theme for 1981’s Chariots of Fire won an Oscar and became a sort of aural shorthand for tales of endurance and triumph, died May 17, according to his representatives. He was 79.
His assistant Lefteris Zermas has confirmed the death but did not provide a specific cause, saying only that Vangelis died in a hospital in France. Greek newspaper Ot is reporting that Vangelis was being treated for Covid-19.
Born Evangelos Odessey Papathanassiou in Greece, the composer and musician known worldwide simply as Vangelis, combined orchestral music, electronic synth sounds, jazz and ambient to create a then-new sound for the film that seemed to provide the musical equivalent of the ocean waves that crashed as the story’s Olympic runners sprinted down the beach. (Watch the video below.)
Vangelis would go on to compose scores for Blade Runner (1982), Missing (1982), Antarctica (1983), The Bounty (1984), 1492: Conquest of Paradise (1992) and...
His assistant Lefteris Zermas has confirmed the death but did not provide a specific cause, saying only that Vangelis died in a hospital in France. Greek newspaper Ot is reporting that Vangelis was being treated for Covid-19.
Born Evangelos Odessey Papathanassiou in Greece, the composer and musician known worldwide simply as Vangelis, combined orchestral music, electronic synth sounds, jazz and ambient to create a then-new sound for the film that seemed to provide the musical equivalent of the ocean waves that crashed as the story’s Olympic runners sprinted down the beach. (Watch the video below.)
Vangelis would go on to compose scores for Blade Runner (1982), Missing (1982), Antarctica (1983), The Bounty (1984), 1492: Conquest of Paradise (1992) and...
- 5/19/2022
- by Greg Evans
- Deadline Film + TV
Billie Eilish has set a number of records in scoring a Best Original Song Oscar for “No Time to Die,” including being the first person born in the 21st century to win an Academy Award.
At age 20, she’s not the youngest-ever songwriting winner, however. Czech-Icelandic singer-songwriter Markéta Irglová, who co-wrote “Falling Slowly” with Glen Hansard for the film “Once,” was four days away from turning 20 at the February 2008 ceremony.
If “No Time To Die” had come out as originally scheduled in 2020 and Eilish had been nominated and won, she would have been 19 years and two months if the Oscars had gone on as usual in February 2021. And she still would have been a few months younger than Irglová at the stripped-down ceremony that was eventually held in April.
Eilish and her 24-year-old brother Finneas have also become the first American songwriters to win for writing an original James Bond song.
At age 20, she’s not the youngest-ever songwriting winner, however. Czech-Icelandic singer-songwriter Markéta Irglová, who co-wrote “Falling Slowly” with Glen Hansard for the film “Once,” was four days away from turning 20 at the February 2008 ceremony.
If “No Time To Die” had come out as originally scheduled in 2020 and Eilish had been nominated and won, she would have been 19 years and two months if the Oscars had gone on as usual in February 2021. And she still would have been a few months younger than Irglová at the stripped-down ceremony that was eventually held in April.
Eilish and her 24-year-old brother Finneas have also become the first American songwriters to win for writing an original James Bond song.
- 3/28/2022
- by Sharon Knolle
- The Wrap
Thanks to big syncs by the Weeknd, Motley Crue and yacht rock icon Christopher Cross, season four of Netflix’s “Cobra Kai” raised the bar in more ways than just its viewership, which propelled the show to No. 1 on Netflix’s English series chart for the two weeks following its New Years Eve release. Extending the storylines introduced in the beloved 1980s film series “The Karate Kid” and featuring many of its original stars, the series continued to find effective musical tie-ins to drive the narratives around 50-somethings Daniel (Ralph Macchio) and Johnny (William Zabka) as they pursue yet another All Valley karate tournament victory for their dojos.
This time around, the familiar ‘80s metal and soft rock classics were complimented by deeper cuts from those genres, knowing references to cult-classic songs and artists and more contemporary fare simpatico with the daily lives of its many teenage characters. Season four...
This time around, the familiar ‘80s metal and soft rock classics were complimented by deeper cuts from those genres, knowing references to cult-classic songs and artists and more contemporary fare simpatico with the daily lives of its many teenage characters. Season four...
- 1/26/2022
- by Jonathan Cohen
- Variety Film + TV
“Cobra Kai” season three ended with an epic showdown between Johnny Lawrence (William Zabka) and John Kreese (Martin Kove).
As the episode and season come to an end, the first epic fight happened at the Larusso house, where the younger characters got into a fight. But there was more – one last fight that happens at the Cobra Kai dojo.
The series created a vast musical landscape for its composers Zach Robinson and Leo Birenberg, allowing them to pay tribute to some of the corniest sonic touchstones in genre-bending ways as the 37-track soundtrack sees the duo leading a massive, 90-piece orchestra across many styles from hard rock to synthwave to Japanese classical. Keen listeners will note there are nods to Bill Conti’s score for the original 1984 film, but both Robinson and Birenberg wanted to ensure they were scoring “Cobra Kai,” not “The Karate Kid.”
In the grand climax, Kreese...
As the episode and season come to an end, the first epic fight happened at the Larusso house, where the younger characters got into a fight. But there was more – one last fight that happens at the Cobra Kai dojo.
The series created a vast musical landscape for its composers Zach Robinson and Leo Birenberg, allowing them to pay tribute to some of the corniest sonic touchstones in genre-bending ways as the 37-track soundtrack sees the duo leading a massive, 90-piece orchestra across many styles from hard rock to synthwave to Japanese classical. Keen listeners will note there are nods to Bill Conti’s score for the original 1984 film, but both Robinson and Birenberg wanted to ensure they were scoring “Cobra Kai,” not “The Karate Kid.”
In the grand climax, Kreese...
- 11/29/2021
- by Jazz Tangcay
- Variety Film + TV
The extraordinary Jonathan Ross discusses his favorite movies with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Kick-Ass (2010)
Kingsman: The Secret Service (2015) – Dennis Cozzalio’s 2015 year-end list
The Woman in Black (2012)
Stardust (2007)
The Green Knight (2021) – Our podcast interview with director David Lowery, Dennis Cozzalio’s best-of-2021-so-far list
Slumdog Millionaire (2008)
The Astro-Zombies (1968) – Dennis Cozzalio’s drive-in director list
The Corpse Grinders (1971) – Dennis Cozzalio’s drive-in director list
Incredibly Strange Creatures Who Stopped Living And Became Zombies (1964) – Dennis Cozzalio’s drive-in director list
Blood Feast (1963) – Charlie Largent’s Blu-ray review
The Wizard of Gore (1970)
Police Story (1985) – Glenn Erickson’s Criterion Blu-ray review
Honey, I Shrunk The Kids (1989)
Re-Animator (1985) – Charlie Largent’s Blu-ray review
Society (1989)
Eraserhead (1977) – Karyn Kusama’s Blu-ray review
Faster Pussycat Kill Kill (1965) – Randy Fuller’s wine pairing
Beyond The Valley Of The Dolls (1970) – Michael Lehmann’s trailer commentary, Glenn Erickson’s Blu-ray review, Randy...
Show Notes: Movies Referenced In This Episode
Kick-Ass (2010)
Kingsman: The Secret Service (2015) – Dennis Cozzalio’s 2015 year-end list
The Woman in Black (2012)
Stardust (2007)
The Green Knight (2021) – Our podcast interview with director David Lowery, Dennis Cozzalio’s best-of-2021-so-far list
Slumdog Millionaire (2008)
The Astro-Zombies (1968) – Dennis Cozzalio’s drive-in director list
The Corpse Grinders (1971) – Dennis Cozzalio’s drive-in director list
Incredibly Strange Creatures Who Stopped Living And Became Zombies (1964) – Dennis Cozzalio’s drive-in director list
Blood Feast (1963) – Charlie Largent’s Blu-ray review
The Wizard of Gore (1970)
Police Story (1985) – Glenn Erickson’s Criterion Blu-ray review
Honey, I Shrunk The Kids (1989)
Re-Animator (1985) – Charlie Largent’s Blu-ray review
Society (1989)
Eraserhead (1977) – Karyn Kusama’s Blu-ray review
Faster Pussycat Kill Kill (1965) – Randy Fuller’s wine pairing
Beyond The Valley Of The Dolls (1970) – Michael Lehmann’s trailer commentary, Glenn Erickson’s Blu-ray review, Randy...
- 10/5/2021
- by Kris Millsap
- Trailers from Hell
In 1985, a plucky underdog from the “City of Brotherly Love” helped ease Cold War tensions with his gutsy triumph over a Soviet slugger and his passionate reminder that “everybody can change.” That ringside speech, of course, was the dramatic culmination of “Rocky IV,” one of the biggest hits of that year and critical component of the Sylvester Stallone canon. There were come-from-behind-victories, dramatic montages, and that stirring theme music, courtesy of Bill Conti — all the things that made the franchise so great. But fans of the Rocky saga might be forgiven for wondering, what got left on the cutting room floor?
Well, wonder no longer. “Rocky V. Drago: The Ultimate Director’s Cut” will deliver 40 more minutes of never-before-seen footage. The film, which Stallone directed as well as starred in, will be available for a one-night only engagement in theaters on Nov. 11. MGM will team up with Fathom Events for the nationwide screenings,...
Well, wonder no longer. “Rocky V. Drago: The Ultimate Director’s Cut” will deliver 40 more minutes of never-before-seen footage. The film, which Stallone directed as well as starred in, will be available for a one-night only engagement in theaters on Nov. 11. MGM will team up with Fathom Events for the nationwide screenings,...
- 9/30/2021
- by Brent Lang
- Variety Film + TV
When it premiered in cinemas on June 24, 1981, the James Bond thriller “For Your Eyes Only” was notable for two main reasons. First, it was the grittiest and most realistic Bond adventure since “From Russia with Love” almost two decades earlier. And second, it instantly established an iconic new theme song that was embraced by fans as one of the best in the blockbuster spy series’ history.
Performed by then 21-year-old Scottish singer Sheena Easton, and written by composer Bill Conti and lyricist Mike Leeson, the song was a worldwide hit, reaching number four on the U.S. Billboard Hot 100 and No. 8 on the U.K. singles chart. Nominated for a Grammy for best pop female vocalist and an Academy Award for best original song, it remains one of Easton’s biggest hits, and ranks alongside Paul McCartney’s “Live and Let Die,” Carly Simon’s “Nobody Does It Better,” and...
Performed by then 21-year-old Scottish singer Sheena Easton, and written by composer Bill Conti and lyricist Mike Leeson, the song was a worldwide hit, reaching number four on the U.S. Billboard Hot 100 and No. 8 on the U.K. singles chart. Nominated for a Grammy for best pop female vocalist and an Academy Award for best original song, it remains one of Easton’s biggest hits, and ranks alongside Paul McCartney’s “Live and Let Die,” Carly Simon’s “Nobody Does It Better,” and...
- 6/24/2021
- by Matthew Chernov
- Variety Film + TV
“To buy-in with the right kind of sincerity, you have to embrace the drama,” declares Leo Birenberg, who serves as composer on Netflix’s hit dramedy “Cobra Kai” alongside co-composer Zach Robinson. “We are really into the sincerity of how the score plays from the audience’s point of view,” Birenberg goes on to say. “It’s what you want to hear and cheer along with as the audience, and to execute it right, there’s a sincerity there. That is what we strive for in every single scene,” he explains, noting that the musical cues on this show are meant to be from the heart and earnest rather than ironic or tongue-in-cheek.
“We use that word all the time and that is what we live by,” Robinson agrees, as Birenberg enthusiastically adds that they are “here to have fun with the audience and with the characters.” Watch our exclusive...
“We use that word all the time and that is what we live by,” Robinson agrees, as Birenberg enthusiastically adds that they are “here to have fun with the audience and with the characters.” Watch our exclusive...
- 5/6/2021
- by Rob Licuria
- Gold Derby
Thirty six hours or so after he finished his stint as the Academy Awards’ first DJ-as-orchestra, Ahmir “Questlove” Thompson, the show’s musical director, has posted a 144-track playlist including every single song he played during the three-plus-hour-long Oscars ceremony this year. Unfortunately, it does not include the music that he and the Roots recorded paying homage to great Hollywood composers (which he described to Variety in an interview last week), but it’s an amazing 10-hour-plus jam nonetheless. It begins with James Brown’s “The Boss,” concludes with three songs from Prince, and hits everything from Donna Summer to the “Super Mario” theme, from Bohannon to the Human League, from Louis Prima to Toto, from Johnny Cash to Bjork, from the Fatback Band to Ronnie Laws, along the way.
Of course, in his two day jobs, Quest is both the drummer and founder of the Roots and the musical...
Of course, in his two day jobs, Quest is both the drummer and founder of the Roots and the musical...
- 4/27/2021
- by Jem Aswad
- Variety Film + TV
All 2021 Academy Awards nominees for Best Original Song will be performed during the preshow, which begins at 6:30 p.m. Et — not during the main show, which begins 90 minutes later.
The pre-show and main ceremony will be broadcast on ABC, as well as available to stream on Hulu Live TV, YouTubeTV, AT&T TV, FuboTV and on ABC.com (with provider authentication). The awards for Best Song and Best Score will be given out during the main show.
Leslie Odom Jr., a double nominee for acting and songwriting for “One Night in Miami,” will perform the end-titles theme he co-penned for the film, “Speak Now.” Diane Warren and singer Laura Pausini will join forces again for “Io Si (Seen),” which they co-wrote for “The Life Ahead.” “Fight for You” will be performed by the singer/co-writer H.E.R., who performed the old-school-soul throwback anthem over the end credits for “Judas and the Black Messiah.
The pre-show and main ceremony will be broadcast on ABC, as well as available to stream on Hulu Live TV, YouTubeTV, AT&T TV, FuboTV and on ABC.com (with provider authentication). The awards for Best Song and Best Score will be given out during the main show.
Leslie Odom Jr., a double nominee for acting and songwriting for “One Night in Miami,” will perform the end-titles theme he co-penned for the film, “Speak Now.” Diane Warren and singer Laura Pausini will join forces again for “Io Si (Seen),” which they co-wrote for “The Life Ahead.” “Fight for You” will be performed by the singer/co-writer H.E.R., who performed the old-school-soul throwback anthem over the end credits for “Judas and the Black Messiah.
- 4/25/2021
- by Jem Aswad
- Variety Film + TV
With an estimated 41 million households tuning into its third season (and first to premiere on Netflix), “Cobra Kai” has turned ‘80s nostalgia for the characters from “The Karate Kid” into a modern hit.
It’s also created a vast musical landscape for the series’ composers Zach Robinson and Leo Birenberg to pay tribute to some of the corniest sonic touchstones in genre-bending ways as the 37-track soundtrack sees the duo leading a massive, 90-piece orchestra across many styles from hard rock to synthwave to Japanese classical.
Since 2017, “Cobra Kai” has been a lead collaboration for Robinson and Birenberg, who first started working together nearly a decade ago supporting Christophe Beck in composing the music for such films as “Frozen,” “Ant-Man” and “The Peanuts Movie.”
“[‘Cobra Kai’] truly represents both of us, and our coming of age as composers and as musicians,” Robinson says. “I came up from a rock background...
It’s also created a vast musical landscape for the series’ composers Zach Robinson and Leo Birenberg to pay tribute to some of the corniest sonic touchstones in genre-bending ways as the 37-track soundtrack sees the duo leading a massive, 90-piece orchestra across many styles from hard rock to synthwave to Japanese classical.
Since 2017, “Cobra Kai” has been a lead collaboration for Robinson and Birenberg, who first started working together nearly a decade ago supporting Christophe Beck in composing the music for such films as “Frozen,” “Ant-Man” and “The Peanuts Movie.”
“[‘Cobra Kai’] truly represents both of us, and our coming of age as composers and as musicians,” Robinson says. “I came up from a rock background...
- 1/20/2021
- by Andrew Hampp
- Variety Film + TV
In an interesting turn of events, National Geographic’s television series adaptation of Tom Wolfe’s The Right Stuff became a Disney+ streaming offering, reviving the seemingly-abandoned cultural attribute of wonder and optimism.
Nat Geo, which went into development on the 8-episode television adaptation of The Right Stuff back in 2017, made the move this past May to export its scripted original to Disney+, setting a fall release window. The series will, of course, live up as the namesake of Wolfe’s 1979 novel and director Philip Kaufman’s iconic 1983 movie by chronicling the Space Race-era story of NASA’s 1958-1963 Project Mercury, specifically the lives of the pioneering astronauts who endeavored to reach farther than ever past the atmosphere, becoming celebrities in what could be considered America’s first reality show.
In the latest news, Disney+’s The Right Stuff now has a specific release date charted. You can also check...
Nat Geo, which went into development on the 8-episode television adaptation of The Right Stuff back in 2017, made the move this past May to export its scripted original to Disney+, setting a fall release window. The series will, of course, live up as the namesake of Wolfe’s 1979 novel and director Philip Kaufman’s iconic 1983 movie by chronicling the Space Race-era story of NASA’s 1958-1963 Project Mercury, specifically the lives of the pioneering astronauts who endeavored to reach farther than ever past the atmosphere, becoming celebrities in what could be considered America’s first reality show.
In the latest news, Disney+’s The Right Stuff now has a specific release date charted. You can also check...
- 8/20/2020
- by Joseph Baxter
- Den of Geek
Talk about a film whose time has come … Paul Mazursky’s ode to womanly liberation takes a sensible, gentle approach. Yes, the husband was a total jerk, and so is the first man Jill Clayburgh’s Erica turns to in need. What’s more important is the feeling of empowerment on the personal intimate level: it’s okay for a woman to have personal priorities; it’s okay to decline commitment to the whims and wishes of a male companion. Forty-two years later, the premise holds — especially the film’s emphasis on social support from one’s friends.
An Unmarried Woman
Blu-ray
The Criterion Collection 1032
1978 / Color / 1:85 widescreen / 124 min. / available through The Criterion Collection / Street Date June 9, 2020 / 39.95
Starring: Jill Clayburgh, Alan Bates, Michael Murphy, Cliff Gorman, Pat Quinn, Kelly Bishop, Lisa Lucas, Linda Miller.
Cinematography: Arthur J. Ornitz
Film Editor: Stuart H. Pappé
Original Music: Bill Conti
Produced by Paul Mazursky,...
An Unmarried Woman
Blu-ray
The Criterion Collection 1032
1978 / Color / 1:85 widescreen / 124 min. / available through The Criterion Collection / Street Date June 9, 2020 / 39.95
Starring: Jill Clayburgh, Alan Bates, Michael Murphy, Cliff Gorman, Pat Quinn, Kelly Bishop, Lisa Lucas, Linda Miller.
Cinematography: Arthur J. Ornitz
Film Editor: Stuart H. Pappé
Original Music: Bill Conti
Produced by Paul Mazursky,...
- 6/9/2020
- by Glenn Erickson
- Trailers from Hell
The martial arts icon talks about some of his favorite action movies. Josh challenges him to a fight.
Show Notes: Movies Referenced In This Episode
Armaggeddon (1998)
Innerspace (1987)
The ’Burbs (1989)
Matinee (1993)
The Debt Collector (2018)
Triple Threat (2019)
Avengement (2019)
Ip Man 4: The Finale (2020)
Masters of the Universe (1987)
Debt Collectors (2020)
The Three Musketeers (1973)
Rocky II (1979)
Rocky (1976)
Rocky IV (1985)
Paradise Alley (1978)
First Blood (1982)
Rambo — First Blood Part II (1985)
Enter The Dragon (1973)
Giant (1956)
Game Of Death (1978)
Once Upon A Time In Hollywood (2019)
Marlowe (1969)
Road House (1989)
Grosse Point Blank (1997)
Hard Boiled (1992)
The Killer (1989)
Death Wish (1974)
Seconds (1966)
Face/Off (1997)
Heat (1995)
Under Fire (1983)
True Lies (1994)
The Wild Bunch (1969)
The Raid (2011)
The Raid 2 (2014)
Die Hard (1988)
A History Of Violence (2005)
Munich (2005)
Point Break (1991)
Zero Dark Thirty (2012)
Armour of God (1986)
The Protector (1985)
Under Siege (1992)
Hard To Kill (1990)
Billy Jack (1971)
John Wick (2014)
Other Notable Items
Michael Bay
Our Jesse V. Johnson podcast episode
The Ip Man franchise
Donnie Yen
Dolph Lundgren
Anthony De Longis...
Show Notes: Movies Referenced In This Episode
Armaggeddon (1998)
Innerspace (1987)
The ’Burbs (1989)
Matinee (1993)
The Debt Collector (2018)
Triple Threat (2019)
Avengement (2019)
Ip Man 4: The Finale (2020)
Masters of the Universe (1987)
Debt Collectors (2020)
The Three Musketeers (1973)
Rocky II (1979)
Rocky (1976)
Rocky IV (1985)
Paradise Alley (1978)
First Blood (1982)
Rambo — First Blood Part II (1985)
Enter The Dragon (1973)
Giant (1956)
Game Of Death (1978)
Once Upon A Time In Hollywood (2019)
Marlowe (1969)
Road House (1989)
Grosse Point Blank (1997)
Hard Boiled (1992)
The Killer (1989)
Death Wish (1974)
Seconds (1966)
Face/Off (1997)
Heat (1995)
Under Fire (1983)
True Lies (1994)
The Wild Bunch (1969)
The Raid (2011)
The Raid 2 (2014)
Die Hard (1988)
A History Of Violence (2005)
Munich (2005)
Point Break (1991)
Zero Dark Thirty (2012)
Armour of God (1986)
The Protector (1985)
Under Siege (1992)
Hard To Kill (1990)
Billy Jack (1971)
John Wick (2014)
Other Notable Items
Michael Bay
Our Jesse V. Johnson podcast episode
The Ip Man franchise
Donnie Yen
Dolph Lundgren
Anthony De Longis...
- 5/26/2020
- by Kris Millsap
- Trailers from Hell
Icelandic composer Hildur Guðnadóttir continued her winning streak, claiming top honors for both her “Joker” and “Chernobyl” scores at Tuesday night’s inaugural awards of the Society of Composers & Lyricists at Los Angeles’ Skirball Cultural Center.
Her music for “Joker” was named outstanding original score for a studio film and her score for HBO’s “Chernobyl” was cited as outstanding original score for a television or streaming production. They followed her Golden Globe win Sunday night for “Joker” and BAFTA nomination earlier Tuesday. She won the Emmy in September for her score to the HBO miniseries “Chernobyl.”
Guðnadóttir is among the most talked-about newcomers in film music, first for her “Chernobyl” score (built largely on sounds she recorded while visiting the nuclear power plant where it was shot) and more recently her “Joker” music (her electro-acoustic cello providing the accompaniment for star Joaquin Phoenix’s on-screen dancing). She...
Her music for “Joker” was named outstanding original score for a studio film and her score for HBO’s “Chernobyl” was cited as outstanding original score for a television or streaming production. They followed her Golden Globe win Sunday night for “Joker” and BAFTA nomination earlier Tuesday. She won the Emmy in September for her score to the HBO miniseries “Chernobyl.”
Guðnadóttir is among the most talked-about newcomers in film music, first for her “Chernobyl” score (built largely on sounds she recorded while visiting the nuclear power plant where it was shot) and more recently her “Joker” music (her electro-acoustic cello providing the accompaniment for star Joaquin Phoenix’s on-screen dancing). She...
- 1/8/2020
- by Jon Burlingame
- Variety Film + TV
Four months after winning an Emmy for her score to the miniseries “Chernobyl” and two days after taking home a Golden Globe for her music to “Joker,” composer Hildur Gudnadottir won new awards for both of those scores at the first annual Scl Awards, presented by the Society of Composers and Lyricists.
Although the Scl was formed in 1983 as an offshoot of previous organizations that had dated back to 1945, its efforts to promote the interests of composers and lyricists working in visual media did not include giving out awards until this year.
“What took you guys so long with the awards?” composer Bill Conti asked at the beginning of the show. “People who work in Hollywood, we need constant approval.”
Also Read: BAFTA Nominations Put '1917' in the Awards Spotlight Again - and 'Joker,' Too
The Icelandic composer Gudnadottir received that approval to the point where she was visibly embarrassed,...
Although the Scl was formed in 1983 as an offshoot of previous organizations that had dated back to 1945, its efforts to promote the interests of composers and lyricists working in visual media did not include giving out awards until this year.
“What took you guys so long with the awards?” composer Bill Conti asked at the beginning of the show. “People who work in Hollywood, we need constant approval.”
Also Read: BAFTA Nominations Put '1917' in the Awards Spotlight Again - and 'Joker,' Too
The Icelandic composer Gudnadottir received that approval to the point where she was visibly embarrassed,...
- 1/8/2020
- by Steve Pond
- The Wrap
A new group of music awards is joining the various other ceremonies honoring achievements in visual media: the inaugural Scl Awards, presented by composers and songwriters to their fellow music-makers, will be held on Jan. 7, 2020.
The Society of Composers and Lyricists (Scl) has, since the 1980s, been the primary organization of composers and songwriters active in the film and TV industry. It has previously presented lifetime achievement and similar career honors, but this will be its first foray into awards for individual scores for film, TV and video games.
The categories are: original score for a studio film; original score for an independent film; original score for a television or streaming production; original song for visual media; original score for interactive media; and “spirit of collaboration filmmaker award,” given by a composer to a filmmaker for “an enduring and distinguished creative partnership.”
Said Scl president Ashley Irwin: “The Scl...
The Society of Composers and Lyricists (Scl) has, since the 1980s, been the primary organization of composers and songwriters active in the film and TV industry. It has previously presented lifetime achievement and similar career honors, but this will be its first foray into awards for individual scores for film, TV and video games.
The categories are: original score for a studio film; original score for an independent film; original score for a television or streaming production; original song for visual media; original score for interactive media; and “spirit of collaboration filmmaker award,” given by a composer to a filmmaker for “an enduring and distinguished creative partnership.”
Said Scl president Ashley Irwin: “The Scl...
- 9/9/2019
- by Jon Burlingame
- Variety Film + TV
Could David Arnold return as composer to the James Bond series?
It was the obvious question to pose while he was talking about Amazon’s new “Good Omens” miniseries, for which he has composed the elaborate score.
“It’s a no-news situation,” Arnold told Variety about 007. “I’ve heard nothing. But my pencil is always sharpened for him if James comes around again. But if he doesn’t, I’ll be as excited to watch the new film as anyone else. I still love him, and I love all of the team over there.”
Arnold composed the scores for five consecutive Bond films: three with Pierce Brosnan and two starring Daniel Craig.
With singer Chris Cornell, he co-wrote “You Know My Name,” the theme song for “Casino Royale,” and earned a Grammy nomination for it; he also received a BAFTA nomination for that score.
Arnold has scored more 007 films than any composer since John Barry,...
It was the obvious question to pose while he was talking about Amazon’s new “Good Omens” miniseries, for which he has composed the elaborate score.
“It’s a no-news situation,” Arnold told Variety about 007. “I’ve heard nothing. But my pencil is always sharpened for him if James comes around again. But if he doesn’t, I’ll be as excited to watch the new film as anyone else. I still love him, and I love all of the team over there.”
Arnold composed the scores for five consecutive Bond films: three with Pierce Brosnan and two starring Daniel Craig.
With singer Chris Cornell, he co-wrote “You Know My Name,” the theme song for “Casino Royale,” and earned a Grammy nomination for it; he also received a BAFTA nomination for that score.
Arnold has scored more 007 films than any composer since John Barry,...
- 6/4/2019
- by Jon Burlingame
- Variety Film + TV
Sylvester Stallone’s Friday at the Cannes Film Festival ended with a honorary career retrospective of the Rocky and Rambo star, topped off with an early look at his upcoming Millennium Entertainment movie Rambo V – Last Blood, which he co-wrote.
Following a standing ovation (off which Stallone teared up) and an introduction by Cannes boss Thierry Frémaux, a sizzle reel fired off with Stallone’s gung-ho speech from the 1978 trucker union movie F.I.S.T.: “We’re going to go back out there, and they’re not going to beat us down no more, they’re not going to burn us down no more, they’re not going to shoot us down no more…” before getting the union members in a fevered shout “One Fist! One Fist!” The soundtrack lit up with Survivor’s Rocky III song “Eye of the Tiger” and the crowd clapped in unison, continuing through to Bill Conti...
Following a standing ovation (off which Stallone teared up) and an introduction by Cannes boss Thierry Frémaux, a sizzle reel fired off with Stallone’s gung-ho speech from the 1978 trucker union movie F.I.S.T.: “We’re going to go back out there, and they’re not going to beat us down no more, they’re not going to burn us down no more, they’re not going to shoot us down no more…” before getting the union members in a fevered shout “One Fist! One Fist!” The soundtrack lit up with Survivor’s Rocky III song “Eye of the Tiger” and the crowd clapped in unison, continuing through to Bill Conti...
- 5/24/2019
- by Anthony D'Alessandro
- Deadline Film + TV
Songwriter Norman Gimbel, whose works won him an Oscar, Grammy and admission to the Songwriters Hall of Fame, has died. He passed on Dec. 19 at his home in Montecito, Calif. at age 91, according to a tribute posted by Bmi. Gimbel’s lyrics to Roberta Flack’s Killing Me Softly and Jim Croce’s I Got A Name were just some of the highlights of a catalog that reads like a compilation of 20th century hits. His lyrics graced the English language version of The Girl from Ipanema and the TV themes to Happy Days and Laverne & Shirley; he earned an Academy Award with David Shire for Jennifer Warnes’s It Goes Like It Goes; he was the Best Original Song winner for 1979’s Sally Field starrer Norma Rae; and shared the Grammy Song of the Year with longtime writing collaborator Charles Fox in 1973 for Killing Me Softly.Gimbel and...
- 12/28/2018
- by Bruce Haring
- Deadline Film + TV
Norman Gimbel, an Oscar and Grammy-winning composer whose lyrics graced hit songs such as Roberta Flack’s “Killing Me Softly with His Song” and Jim Croce’s “I Got a Name,” died at the age of 91 on December 19 at his longtime home in Montecito, Calif.
His death was confirmed by Bmi, which paid tribute on its website, noting: “Bmi was greatly saddened to learn of the passing of renowned songwriter Norman Gimbel, a truly prolific and gifted writer who will be greatly missed by his many friends and fans here.”
The Brooklyn native wrote the words to both “The Girl from Ipanema” and the “Happy Days” theme, earning an Academy Award with David Shire for Jennifer Warnes’ “It Goes Like It Goes,” the Best Original Song winner for 1979’s “Norma Rae,” which also garnered Sally Field her first of two Best Actress Oscars.
With his longtime writing collaborator Charles Fox,...
His death was confirmed by Bmi, which paid tribute on its website, noting: “Bmi was greatly saddened to learn of the passing of renowned songwriter Norman Gimbel, a truly prolific and gifted writer who will be greatly missed by his many friends and fans here.”
The Brooklyn native wrote the words to both “The Girl from Ipanema” and the “Happy Days” theme, earning an Academy Award with David Shire for Jennifer Warnes’ “It Goes Like It Goes,” the Best Original Song winner for 1979’s “Norma Rae,” which also garnered Sally Field her first of two Best Actress Oscars.
With his longtime writing collaborator Charles Fox,...
- 12/28/2018
- by Roy Trakin
- Variety Film + TV
This article marks Part 16 of the Gold Derby series analyzing 84 years of Best Original Song at the Oscars. Join us as we look back at the timeless tunes recognized in this category, the results of each race and the overall rankings of the winners.
The 1980 Oscar nominees in Best Original Song were:
“People Alone” from “The Competition”
“Fame” from “Fame”
“Out Here on My Own” from “Fame”
“On the Road Again” from “Honeysuckle Rose”
“9 to 5” from “9 to 5”
Won: “Fame” from “Fame”
Should’ve won: “9 to 5” from “9 to 5”
1980 marks a refreshingly sensational year for Best Original Song at the Oscars – and that’s even in spite of voters not recognizing the memorable likes of Blondie‘s “Call Me” (from “American Gigolo”); Kenny Loggins‘ “I’m Alright” (from “Caddyshack”); Olivia Newton-John‘s “Magic” (from “Xanadu”); and Neil Diamond‘s “America” (from “The Jazz Singer”).
What voters did offer...
The 1980 Oscar nominees in Best Original Song were:
“People Alone” from “The Competition”
“Fame” from “Fame”
“Out Here on My Own” from “Fame”
“On the Road Again” from “Honeysuckle Rose”
“9 to 5” from “9 to 5”
Won: “Fame” from “Fame”
Should’ve won: “9 to 5” from “9 to 5”
1980 marks a refreshingly sensational year for Best Original Song at the Oscars – and that’s even in spite of voters not recognizing the memorable likes of Blondie‘s “Call Me” (from “American Gigolo”); Kenny Loggins‘ “I’m Alright” (from “Caddyshack”); Olivia Newton-John‘s “Magic” (from “Xanadu”); and Neil Diamond‘s “America” (from “The Jazz Singer”).
What voters did offer...
- 12/28/2018
- by Andrew Carden
- Gold Derby
There’s something downright magical when the fusion of music and images results in perfect, cinematic alchemy. In a year full of actual movie musicals and some great original scores, here are ten of the most exciting movie music moments of 2018.
“Shallow” from “A Star is Born”
It’s almost passé to talk about this song now, which first took pop culture by storm back when the trailer dropped and has been endlessly referenced, memed, and karaoked across the land. But that’s because of the tune’s catchiness and the giddy rollercoaster of emotions we feel with Ally (Lady Gaga) as Jackson Maine (Bradley Cooper) reveals that he was listening intently enough to her half-baked song idea the night before to write a new arrangement for his band, then pull her out in front of a crowd of thousands — the slow uphill climb of her nervous tension, and finally...
“Shallow” from “A Star is Born”
It’s almost passé to talk about this song now, which first took pop culture by storm back when the trailer dropped and has been endlessly referenced, memed, and karaoked across the land. But that’s because of the tune’s catchiness and the giddy rollercoaster of emotions we feel with Ally (Lady Gaga) as Jackson Maine (Bradley Cooper) reveals that he was listening intently enough to her half-baked song idea the night before to write a new arrangement for his band, then pull her out in front of a crowd of thousands — the slow uphill climb of her nervous tension, and finally...
- 12/21/2018
- by Tim Greiving
- Variety Film + TV
“Come on, come on, I’d love it — don’t hang back!” dares Gloria Swenson, brandishing a gun at three mobsters that know she means business. Gena Rowlands is electric as a tough New York ex- gangland moll who finds that her maternal instincts make her deadlier than the male. John Cassavetes’ commercial crowd-pleaser is also a smart, sassy gangland mini-classic.
Gloria
Blu-ray
Twilight Time
1980 / Color / 1:85 widescreen / 123 min. / Street Date August 21, 2018 / Available from the Twilight Time Movies Store / 29.95
Starring: Gena Rowlands, Buck Henry, John Adames, Julie Carmen, Lupe Garnica, Jessica Castillo, Basilio Franchina, Val Avery, Tom Noonan.
Cinematography: Fred Schuler
Film Editor: George C. Villaseñor
Original Music: Bill Conti
Produced by Sam Shaw
Written and Directed by John Cassavetes
Do you have a list of movies that you’ll watch again, just to enjoy a particular actor’s performance? Gena Rowlands is one of those people that pull you in.
Gloria
Blu-ray
Twilight Time
1980 / Color / 1:85 widescreen / 123 min. / Street Date August 21, 2018 / Available from the Twilight Time Movies Store / 29.95
Starring: Gena Rowlands, Buck Henry, John Adames, Julie Carmen, Lupe Garnica, Jessica Castillo, Basilio Franchina, Val Avery, Tom Noonan.
Cinematography: Fred Schuler
Film Editor: George C. Villaseñor
Original Music: Bill Conti
Produced by Sam Shaw
Written and Directed by John Cassavetes
Do you have a list of movies that you’ll watch again, just to enjoy a particular actor’s performance? Gena Rowlands is one of those people that pull you in.
- 8/25/2018
- by Glenn Erickson
- Trailers from Hell
Paul Mazursky’s affectionate memoir of the New York bohemian life circa 1953 has a feel for the milieu and an honest appraisal of the kooky culture therein: artists, actors, users, takers, sweethearts, neurotics and phonies. Lenny Baker’s main character may have an amorous relationship with his girlfriend Ellen Greene, but his strongest connection is with his overbearing mother, played to perfection by Shelley Winters. She was a Best Supporting Actress nominee for The Poseidon Adventure but not for this? Honestly.
Next Stop, Greenwich Village
Blu-ray
Twilight Time
1976 / Color / 1:85 widescreen / 111 min. / Street Date May 22, 2018 / Available from the Twilight Time Movies Store / 29.95
Starring: Lenny Baker, Shelley Winters, Ellen Greene, Lois Smith, Christopher Walken, Dori Brenner, Antonio Fargas, Lou Jacobi.
Cinematography: Arthur Ornitz
Film Editor: Richard Halsey
Original music: Bill Conti
Production Designer: Phil Rosenberg
Produced by Paul Mazursky and Tony Ray
Written and Directed by Paul Mazursky
Fans of Paul...
Next Stop, Greenwich Village
Blu-ray
Twilight Time
1976 / Color / 1:85 widescreen / 111 min. / Street Date May 22, 2018 / Available from the Twilight Time Movies Store / 29.95
Starring: Lenny Baker, Shelley Winters, Ellen Greene, Lois Smith, Christopher Walken, Dori Brenner, Antonio Fargas, Lou Jacobi.
Cinematography: Arthur Ornitz
Film Editor: Richard Halsey
Original music: Bill Conti
Production Designer: Phil Rosenberg
Produced by Paul Mazursky and Tony Ray
Written and Directed by Paul Mazursky
Fans of Paul...
- 6/5/2018
- by Glenn Erickson
- Trailers from Hell
[Editor’s Note: The following contains spoilers from the first season of “Cobra Kai.”]
Have mercy! Fans of the “Karate Kid” franchise can thank the Netflix comedy “Fuller House” for the presence of “Cobra Kai,” the YouTube Red series that continues the personal growth and martial arts adventures of Daniel Larusso (Ralph Macchio), Johnny Lawrence (William Zabka), and the community around them. Showrunners and co-creators Josh Heald, Jon Hurwitz, and Hayden Schlossberg had been fans of “The Karate Kid” films since childhood and as screenwriters who had moved out to Los Angeles, they idly discussed revisiting that world through Johnny’s character.
But it wasn’t until decades later when the streaming space made room for such revivals that the idea really gelled as to what form this could take. The co-creators spoke to IndieWire about the origins of the series and where it could go next.
“We started to see the way things were progressing in the streaming narrative space and...
Have mercy! Fans of the “Karate Kid” franchise can thank the Netflix comedy “Fuller House” for the presence of “Cobra Kai,” the YouTube Red series that continues the personal growth and martial arts adventures of Daniel Larusso (Ralph Macchio), Johnny Lawrence (William Zabka), and the community around them. Showrunners and co-creators Josh Heald, Jon Hurwitz, and Hayden Schlossberg had been fans of “The Karate Kid” films since childhood and as screenwriters who had moved out to Los Angeles, they idly discussed revisiting that world through Johnny’s character.
But it wasn’t until decades later when the streaming space made room for such revivals that the idea really gelled as to what form this could take. The co-creators spoke to IndieWire about the origins of the series and where it could go next.
“We started to see the way things were progressing in the streaming narrative space and...
- 5/10/2018
- by Hanh Nguyen
- Indiewire
When it comes to iconic movie themes, Rocky's "Flying High Now" definitely ranks up there with some of the best. If it weren't for the work of Carol Connors and Bill Conti, however, it may have never existed! Originally, Rocky's training sequence had some cheesy ass song about punching someone on a Sunday...it essentially sounded like some type of folktale song. You'll hear Connors sing part of it in the video below, and you'll also learn the interesting story of how one of cinema's most iconic themes came to be:...
- 12/24/2017
- by Mick Joest
- GeekTyrant
William ‘Bill’ Conti is a composer and conductor who is well-known for writing movie scores. He was born in Providence, Rhode Island, on April 13, 1942. He studied at Louisiana State University and the Juilliard School of Music before launching his career in 1969. He first rose to fame when he composed the score for ‘Rocky’ in 1976. He has been the musical director for the Academy Awards nineteen times, which is more than anybody else. He has also won many awards for his work. Here are five of the top music scores of Bill Conti’s Career. 1. Rocky It
The Top Five Bill Conti Movie Scores of His Career...
The Top Five Bill Conti Movie Scores of His Career...
- 12/9/2017
- by Nat Berman
- TVovermind.com
Chicago – His films were more popular than his name, but director John G. Avildsen did put his mark on the last 30 years of 20th Century movies. Avildsen died last week at the age of 81. He is known best for the Oscar Best Picture-winning “Rocky” (1976), but also did the controversial “Joe” (1970), “Save the Tiger” (1973, Best Actor Oscar for Jack Lemmon), John Belushi’s last film “Neighbors” (1981), “The Karate Kid” (1984), “Lean on Me” (1989) and “8 Seconds” (1994). Patrick McDonald, Spike Walters and Jon Espino of HollywoodChicago.com offer three essays on their Avildsen favorites.
Director John G. Avildsen on the Set of ‘Rocky’ with Sylvester Stallone
Photo credit: United Artists
John G. Avildsen was born in the Chicago suburb of Oak Park, Illinois, and graduated from New York University. He started as an assistant director for Arthur Penn and Otto Preminger, before breaking out on his own in the low budget “Joe,” featuring Peter Boyle, in 1970. He scored his biggest success with “Rocky” in 1976 – winning the Oscar for Best Director – and revisited the franchise later with “Rocky V” (1990). He also directed both sequels to “Karate Kid” with “Part II” (1986) and “Part III” (1989). At his peak, he was the original director for “Serpico” (1973) and “Saturday Night Fever” (1977), but was let go from both films. His final film as director was “Inferno” (1999), featuring Jean-Claude Van Damme. Avildsen passed away in Los Angeles on June 16th, 2017, of complications due to pancreatic cancer. He was 81 years old.
Patrick McDonald, Spike Walters and Jon Lennon Espino of HollywoodChicago.com pay tribute to the director who was nicknamed “King of the Underdogs,” with the following film essays.
Rocky (1976) by Patrick McDonald
Rocky
Photo credit: MGM Home Entertainment
“Rocky” is a miracle of a film, considering both its eventual prize (Oscar Best Picture) and the way it made it to the screen the first place. A broke actor named Sylvester Stallones writes a desired boxing movie script that has one caveat… he must portray the title character. As a gambit, he proposes a budget of only one million dollars, and the film gets the green light. For all of the notion of Stallone as Rocky’s prime creator, it is actually director John Avildsen who delivered the on-screen goods – the famous running scene, the freeze frame on the top of Philadelphia’s “Rocky Steps,” boxing sequences that had never been seen before and the third use of the (just invented) Steadicam by a major motion picture.
Avildsen loved to tell the stories of having Stallone write additional dialogue because the budget was so tight they couldn’t afford to match Rocky’s boxing shorts with the on-set posters or send back his too-big ring entrance robe. And remember the classic song “Gonna Fly Now”? It was Avildsen who brought in composer Bill Conti from his previous directorial effort of the Burt Reynolds film, “W.W. and the Dixie Dancekings.” The underdog of underdog films was delivered to a Bicentennial audience, and the little-movie-that-could took home Oscars for Best Picture, Director and Editing, in addition to being the highest grossing film of 1976. No wonder Avildsen became the “Ka-Ching of the Underdogs.”
Gonna Fly Now: The portrayal of the character of Rocky by Stallone was never better in this film, with Six sequels now in the culture. Director Ryan Coogler of the latest Rocky adventure, the excellent “Creed,” seemed to use the John Avildsen template in approaching the sequencing of that story.
The Karate Kid (1984) by Spike Walters
The Karate Kid
Photo credit: Sony Pictures Home Entertainment
John G Avildson was a bit of a journeyman… his Oscar notwithstanding. He wasn’t one of those visionaries who develop a signature style, but his subtle gift was making a formula work. And they don’t come much more formulaic than 1984’s underdog/odd couple buddy movie “The Karate Kid.” Yet Avildson knew how to inject heart into this story of the undersized “Kid” and his quiet but powerful teacher. As the listless remake and some of its later sequels show, this is not nearly as easy as Avildson makes it look here – this is the 1980’s classic that scored Pat Morita an Oscar nomination and holds up relatively well today. It’s not exactly groundbreaking but director Avildson knew how to make the most of it.
Gonna Fly Now: You’d expect the man who directed the original “Rocky” to find the right beats in the inevitable training montage, but Kid Daniel’s “crane kick” training – which predictably but winningly leads to a triumph at the end – still delivers the goods.
Lean On Me (1989) by Jon Lennon Espino
Lean on Me
Photo credit: Warner Home Video
High school sometimes get a bad rap as a physical hell on Earth. John G. Avildsen’s “Lean On Me” does nothing to make anyone think otherwise. Avildsen, like many of his films, has fun with this one. He shows us an exaggerated look at a public school system after minorities have taken over the neighborhood. The director has long had a fascination with creating hero stories, and in this one, he gives us a breakout performance by Morgan Freeman… his performance and approach to the character is everything! This movie lives on the over-the-top action of Freeman, breathing a fun air into the entire film as he does things that may be extremely illegal in real life, but are completely entertaining within the scope of the film. Avildsen knows exactly how to set a scene, which you know right away after the opening montage that is essentially a music video. His films often have an after school special feel, but “Lean On Me” shows just how well it works even when school is still in session.
Gonna Fly Now: The opening credits where we are taken on a tour of the school while Guns-n-Roses’ “Welcome to the Jungle” is playing. He hilariously frames and choreographs the fighting to simulate feral animals in the jungle.
John G. Avildsen, 1935-2017
By Patrick McDONALDWriter, Editorial CoordinatorHollywoodChicago.compat@hollywoodchicago.com
© 2017 Patrick McDonald, HollywoodChicago.com...
Director John G. Avildsen on the Set of ‘Rocky’ with Sylvester Stallone
Photo credit: United Artists
John G. Avildsen was born in the Chicago suburb of Oak Park, Illinois, and graduated from New York University. He started as an assistant director for Arthur Penn and Otto Preminger, before breaking out on his own in the low budget “Joe,” featuring Peter Boyle, in 1970. He scored his biggest success with “Rocky” in 1976 – winning the Oscar for Best Director – and revisited the franchise later with “Rocky V” (1990). He also directed both sequels to “Karate Kid” with “Part II” (1986) and “Part III” (1989). At his peak, he was the original director for “Serpico” (1973) and “Saturday Night Fever” (1977), but was let go from both films. His final film as director was “Inferno” (1999), featuring Jean-Claude Van Damme. Avildsen passed away in Los Angeles on June 16th, 2017, of complications due to pancreatic cancer. He was 81 years old.
Patrick McDonald, Spike Walters and Jon Lennon Espino of HollywoodChicago.com pay tribute to the director who was nicknamed “King of the Underdogs,” with the following film essays.
Rocky (1976) by Patrick McDonald
Rocky
Photo credit: MGM Home Entertainment
“Rocky” is a miracle of a film, considering both its eventual prize (Oscar Best Picture) and the way it made it to the screen the first place. A broke actor named Sylvester Stallones writes a desired boxing movie script that has one caveat… he must portray the title character. As a gambit, he proposes a budget of only one million dollars, and the film gets the green light. For all of the notion of Stallone as Rocky’s prime creator, it is actually director John Avildsen who delivered the on-screen goods – the famous running scene, the freeze frame on the top of Philadelphia’s “Rocky Steps,” boxing sequences that had never been seen before and the third use of the (just invented) Steadicam by a major motion picture.
Avildsen loved to tell the stories of having Stallone write additional dialogue because the budget was so tight they couldn’t afford to match Rocky’s boxing shorts with the on-set posters or send back his too-big ring entrance robe. And remember the classic song “Gonna Fly Now”? It was Avildsen who brought in composer Bill Conti from his previous directorial effort of the Burt Reynolds film, “W.W. and the Dixie Dancekings.” The underdog of underdog films was delivered to a Bicentennial audience, and the little-movie-that-could took home Oscars for Best Picture, Director and Editing, in addition to being the highest grossing film of 1976. No wonder Avildsen became the “Ka-Ching of the Underdogs.”
Gonna Fly Now: The portrayal of the character of Rocky by Stallone was never better in this film, with Six sequels now in the culture. Director Ryan Coogler of the latest Rocky adventure, the excellent “Creed,” seemed to use the John Avildsen template in approaching the sequencing of that story.
The Karate Kid (1984) by Spike Walters
The Karate Kid
Photo credit: Sony Pictures Home Entertainment
John G Avildson was a bit of a journeyman… his Oscar notwithstanding. He wasn’t one of those visionaries who develop a signature style, but his subtle gift was making a formula work. And they don’t come much more formulaic than 1984’s underdog/odd couple buddy movie “The Karate Kid.” Yet Avildson knew how to inject heart into this story of the undersized “Kid” and his quiet but powerful teacher. As the listless remake and some of its later sequels show, this is not nearly as easy as Avildson makes it look here – this is the 1980’s classic that scored Pat Morita an Oscar nomination and holds up relatively well today. It’s not exactly groundbreaking but director Avildson knew how to make the most of it.
Gonna Fly Now: You’d expect the man who directed the original “Rocky” to find the right beats in the inevitable training montage, but Kid Daniel’s “crane kick” training – which predictably but winningly leads to a triumph at the end – still delivers the goods.
Lean On Me (1989) by Jon Lennon Espino
Lean on Me
Photo credit: Warner Home Video
High school sometimes get a bad rap as a physical hell on Earth. John G. Avildsen’s “Lean On Me” does nothing to make anyone think otherwise. Avildsen, like many of his films, has fun with this one. He shows us an exaggerated look at a public school system after minorities have taken over the neighborhood. The director has long had a fascination with creating hero stories, and in this one, he gives us a breakout performance by Morgan Freeman… his performance and approach to the character is everything! This movie lives on the over-the-top action of Freeman, breathing a fun air into the entire film as he does things that may be extremely illegal in real life, but are completely entertaining within the scope of the film. Avildsen knows exactly how to set a scene, which you know right away after the opening montage that is essentially a music video. His films often have an after school special feel, but “Lean On Me” shows just how well it works even when school is still in session.
Gonna Fly Now: The opening credits where we are taken on a tour of the school while Guns-n-Roses’ “Welcome to the Jungle” is playing. He hilariously frames and choreographs the fighting to simulate feral animals in the jungle.
John G. Avildsen, 1935-2017
By Patrick McDONALDWriter, Editorial CoordinatorHollywoodChicago.compat@hollywoodchicago.com
© 2017 Patrick McDonald, HollywoodChicago.com...
- 6/23/2017
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
When you think of movie scores names don’t get bigger than Hans Zimmer. About the only guy who is as big as Zimmer would be John Williams but I would say these two guys completely rule the movie scoring world. My personal favorite is Thomas Newman but there’s no taking away from a guy like Zimmer who is a total legend. Other names that pop up would be Jerry Goldsmith, Bill Conti, James Horner, the list goes on. Anyway, when you think of festivals like Coachella I think the last thing you think of are guys that are famous
Hans Zimmer Performs from the Movie “Inception” Live at Coachella...
Hans Zimmer Performs from the Movie “Inception” Live at Coachella...
- 4/17/2017
- by Nat Berman
- TVovermind.com
Stanley & Iris
Blu-ray
Twilight Time
1990 / Color / 2:35 widescreen / 104 min. / Street Date January 17, 2017 / Available from the Twilight Time Movies Store 29.95
Starring: Jane Fonda, Robert De Niro, Swoosie Kurtz, Martha Plimpton, Harley Cross, Jamey Sheridan, Feodor Chaliapin.
Cinematography: Donald McAlpine
Original Music: John Williams
Written by: Irving Ravetch, Harriet Frank, Jr. based on a novel Union Street by Pat Barker
Produced by: Arlene Sellers, Alex Winitsky
Directed by Martin Ritt
There ought to be a place on a screen for every kind of film story. True, old movies fronted a mostly false consensus picture of the world, claiming that there was a ‘normal’ baseline for our lives. The reality of most social issues was ignored in favor of pleasant fairy tales where all conflicts could be solved on a personal level. After all, movies were considered entertainment first, and carriers of vital social truths maybe about 97th. But then and now, there...
Blu-ray
Twilight Time
1990 / Color / 2:35 widescreen / 104 min. / Street Date January 17, 2017 / Available from the Twilight Time Movies Store 29.95
Starring: Jane Fonda, Robert De Niro, Swoosie Kurtz, Martha Plimpton, Harley Cross, Jamey Sheridan, Feodor Chaliapin.
Cinematography: Donald McAlpine
Original Music: John Williams
Written by: Irving Ravetch, Harriet Frank, Jr. based on a novel Union Street by Pat Barker
Produced by: Arlene Sellers, Alex Winitsky
Directed by Martin Ritt
There ought to be a place on a screen for every kind of film story. True, old movies fronted a mostly false consensus picture of the world, claiming that there was a ‘normal’ baseline for our lives. The reality of most social issues was ignored in favor of pleasant fairy tales where all conflicts could be solved on a personal level. After all, movies were considered entertainment first, and carriers of vital social truths maybe about 97th. But then and now, there...
- 1/21/2017
- by Glenn Erickson
- Trailers from Hell
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