Film: Very Good Transfer: n/a Extras: n/a Label: n/a Region: n/a Released: n/a Genre: Drama / CanCon Synopsis: An illiterate woman travels from Texas to Los Angeles to retrieve her son from an abusive husband. Special Features: n/a Review: In spite of its melodramatic wrap-up, Melanie is an oddly affecting little drama, largely because of Glynnis […]
The roots of Wes Craven and Kevin Williamson’s Scream (1996) also owes its fair share to Paul Lynch’s film, and the gradual genesis of Prom Night from idea to final film is itself a remarkable tale of success for its makers. Wanting to switch genres, Lynch, who’d recently directed a wrestling drama Blood & Guts (1978), attended a Telefilm Canada meet & greet in Los Angeles where he met Simcom producer Peter Simpson…
Podcast Interview with composer-orchestrator Ceiri Torjussen who discusses his entry into film scoring, orchestrating for Marco Beltrami, and scoring Test (2014) with a vintage synth sounds + a link to the making-of blog detailing the eighties-styled video feedback within the podcast.
Soundtrack reviews of Frederik Wiedmann’s The Damned (Lakeshore Records) + Field of Lost Shoes (La-La Land), Victor Reyes’ Grand Piano (MovieScore Media / Kronos), and Paul Haslinger’s No God Deed (Madison Gate).
Perhaps in keeping with the apparent tradition of Spanish horror films being graced with muscular orchestral scores, director Victor Garcia’s The Damned features a very robust score by Frederik Wiedmann, a composer known for combining classical orchestral writing with modernism and an organic use of electronic elements…
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