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TUCK EVERLASTING – William Ross
Original Review by Jonathan Broxton
William Ross has had a busy 2002. As well as assisting John Williams in writing and adapting the score for Harry Potter and the Chamber of Secrets, he was afforded scoring duties on the sweet and sentimental Disney movie Tuck Everlasting. Adapted from the popular novel by Natalie Babbitt, and directed by Jay Russell, the film stars young Alexis Bledel as Winnie Foster, a privileged young woman in 1900’s upstate New York who, after running away from home, meets and falls in love with Jesse Tuck (Jonathan Jackson), the youngest son of the reclusive Tuck family, headed by mother and father Mae and Angus (Sissy Spacek and William Hurt). However, the Tucks harbor a secret – one hundred years previously, they unknowingly drank from a fountain of youth and attained immortality, leaving them blessed (or cursed?) to remain at their current ages until the end of time. Read more…
WHITE OLEANDER – Thomas Newman
Original Review by Jonathan Broxton
I’m getting rather frustrated with Thomas Newman. How many times is he going to rehash the American Beauty sound before it becomes even more tired than it already is? In many ways, Thomas Newman is becoming the James Horner of the 2000s; a supremely talented composer whose work in the full orchestral arena is as good as anything being written today (The Shawshank Redemption, Little Women, Meet Joe Black). But, and at the risk of sounding cruel, he seems to be getting lazy, and is quite prepared to rehash his old works, whether it is at his director’s behest, or because of his own current obsession with sound design over melody. To paraphrase the Old Testament of the bible, American Beauty beget Erin Brockovich, beget Pay It Forward, beget In The Bedroom, and now beget White Oleander. Read more…
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