Written during his busiest period (1968-1970), Quincy Jones’ score for John and Mary was quite sparse, leaving obligatory space for the film’s myriad dialogue exchanges and source music, but the score is memorable for being atypical of the material Jones was writing at the time: action comedies (The Italian Job, The Hell with Heroes), comedies (Bob & Carol & Ted & Alice,Cactus Flower), and the funky style of They Call Me MISTER Tibbs!
For some soundtrack fans, it was a bit of surprise to learn the composer of pioneering synth scores had begun his career with large orchestral scores for John Boorman’s Excalibur (1981) and Jim Henson’s The Dark Crystal (1982)…
The first film in the enduring franchise gave John Powell the perfect opportunity to write what remains both his definitive action sound, and the definitive action score of that decade, blending large orchestral sounds with layers upon layers of electronics…
In a radical move for director Tim Burton, the score for his latest film was written by the collaborative team of Mike Higham and Matthew Margeson, both skilled in composing, orchestrating, and arranging for a diversity of projects…
No stranger to scoring video games, Nima Fakhrara’s music is as unusual as the interactive game’s design in which players can take several differing paths as they’re immersed in the world of the 1979 Islamic Revolution with turned Iran into a theocracy…
The last film executive produced by the late Wes Craven was graced by an inventive score by Nima Fakhrara (The Signal), which is built around “Colleen,” a short theme rendered on piano that trails off like an elegant, long forgotten chamber piece before restarting and re-emphasizing the theme’s inherent tragic tone…
Composed at the head of the band’s busiest film scoring period (roughly 1983-1990), Heartbreakers is also a rare drama for a group known largely for their work in sci-fi and horror. Bobby Roth’s clear characters…
To mark Profondo Rosso’s 40th anniversary, Claudio Simonetti and his newly formed band recorded faithful version of Goblin’s main themes, engineered with the same precision as prior re-recordings…
Steve Moore’s latest film score unfolds like a Tangerine Dream score with fuzzy bass lines akin to John Carpenter in a really pissed off state, and it’s a fusion of elements that give the score dramatic contrasts, and ensure tracks aren’t mere homages…
Steve Moore (Cub) and A.E. Paterra’s non-film album draws heavily from the instrumental sounds of Goblin, Tangerine Dream, and Fabio Frizzi (and maybe a little Stomu Yamashta), but each track is distinct in both design and tone…
Welcome to The Pit: GREYHOUND (2020) + U-BOATS: THE WOLFPACK and B-17: THE FLYING FORTRESS (1987)
Two sides of a vicious WWII sea battle: GREYHOUND (2020) from Apple TV+ / Sony + U-BOATS: THE WOLFPACK and B-17: THE FLYING FORTRESS (1987) on DVD from BSX Entertainment
(Very Minor) Brilliance on a Budget: X-312 FLIGHT TO HELL (1970)
Jess Franco delivers decent action and enjoyable nonsense in the plane crash thriller X-312: FLIGHT TO HELL (1970) from Image.
Tribute to one of the greatest film composers, Italy’s Ennio Morricone, who passed away at 91.
Podcast: Jason Pichonsky on Restoring Julian Roffman’s THE BLOODY BROOD (1959) + PHOBIA (1980)
Alongside a podcast with CanCon film historian Jason Pichonsky are revised reviews of Julian Roffman’s THE BLOODY BROOD (1959) + John Huston’s PHOBIA (1980), both from KINO Lorber / Unobstructed View.
Podcast: ANNE WITH AN E composers Amin Bhatia & Ari Posner
Podcast interview with ANNE WITH AN E’s composing team Amin Bhatia and Ari Posner.
Podcast: Austin Wintory’s REMNANTS + ERICA (2019)
In a new podcast, composer Austin Wintory discusses scoring the interactive PS4 video game ERICA + the eclectic music on the compilation album REMNANTS.
DVD: U-Boats: The Wolfpack / B-17: The Flying Fortress (1987)
Very little is known about this (presumably) four-part documentary series produced by Midwich Entertainment over (presumably) 2 years, narrated by character actor and serious voice extraordinaire Edward Mulhare…
Originally produced by Sony Pictures and slated for a June 2020 theatrical release, Greyhound’s big screen debut was stymied when the COVID-19 pandemic struck, and although Apple TV swung in to the rescue…
DVD: X-312 Flight to Hell / X312 – Flug zur Hölle (1971)
Jess Franco’s story featuring non-stop double-crossing characters is largely sound, if not ambitious…
BR: Cries of Pleasure / Gemidos de placer (1983)
Cries of Pleasure / Gemidos de placer (1983) focuses on a Libertine’s new girlfriend who soon meets his wife, newly released from – where else – an asylum, but Cries is credited as…
BR: Night of Open Sex / La noche de los sexos abiertos (1983)
That interplay between calm and vulgar could be the film’s most consistent element: for some easy cash, Moira (Lina Romay) is asked by a client to help him extract truth from Tina Klaus…
Written during his busiest period (1968-1970), Quincy Jones’ score for John and Mary was quite sparse, leaving obligatory space for the film’s myriad dialogue exchanges and source music, but the score is memorable for being atypical of the material Jones was writing at the time: action comedies (The Italian Job, The Hell with Heroes), comedies (Bob & Carol & Ted & Alice,Cactus Flower), and the funky style of They Call Me MISTER Tibbs!
For some soundtrack fans, it was a bit of surprise to learn the composer of pioneering synth scores had begun his career with large orchestral scores for John Boorman’s Excalibur (1981) and Jim Henson’s The Dark Crystal (1982)…
LP: Bourne Identity, The (2002)
The first film in the enduring franchise gave John Powell the perfect opportunity to write what remains both his definitive action sound, and the definitive action score of that decade, blending large orchestral sounds with layers upon layers of electronics…
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