John Paesano’s background in scoring video games is evident in this extremely taut, action-packed score that mixes straight dramatic action cues with a slight level of wry humour, using a large orchestral palette and occasionally hefty doses of modernism…
The question certainly begs, seeing the names of Philip Glass and Marco Beltrami attached to a comic book action film: What the heck does a score sound like when the two composers come from very different generational backgrounds?
Newcomer Timo Chen’s music for the sci-fi drama Advantageous is primarily synth-based, although some of the integrated sounds stem from an electric violin and an instrument Chen crafted himself, dubbed the Jimbow, described as “a voltage modified rotary tool” for buffing and grinding surfaces…
Reviews of Hubert Sauper’s Darwin’s Nightmare (2007) and his latest work, We Come As Friends (2014), which screened recently at the Bloor Hot Docs Cinema.
Hubert Sauper’s We Come as Friends shares the same anti-colonial, utterly grim tenor as his Oscar-Nominated Darwin’s Nightmare (2004), an equally outstanding documentary where a swathe of African culture has been clobbered by the vestiges of European colonial powers, and levels of corruption guarantee the average citizen is effective fucked for generations…
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