Archive
PEE-WEE’S BIG ADVENTURE – Danny Elfman
THROWBACK THIRTY
Original Review by Jonathan Broxton
The story of how Tim Burton and Danny Elfman met has probably been turned into an urban myth, Chinese whispers-style, by now, but here’s my understanding of how it went down. In 1984, Burton was an aspiring filmmaker, a former animator for Disney who worked as an artist on films such as The Fox and the Hound, The Black Cauldron, and Tron, and who had impressed many with his animated short film Frankenweenie. One fan of Frankenweenie was actor and comedian Paul Reubens, who actively sought Burton out to direct Pee-Wee’s Big Adventure, the planned big-screen spinoff of his popular Pee-Wee Herman character, which has become a cult-success on stage. Burton was a fan of the theatrical rock band Oingo Boingo and its charismatic lead singer Danny Elfman and, when it came time to decide on a musical direction for Pee-Wee, he approached Elfman to offer him the gig. Unknown to Burton, Elfman had basically grown up as a ‘film music fanboy’, having a special affinity for the work of Bernard Herrmann, and jumped at the chance to work in the genre that had fascinated him all his life. The rest, as they say, is history. Read more…
MR. HOLMES – Carter Burwell
Original Review by Jonathan Broxton
Mr. Holmes is a quiet, thoughtful film directed by Bill Condon, based on the novel A Slight Trick of the Mind by Mitch Cullin, which features the famous literary detective Sherlock Holmes as a 90-year-old man looking back on his life in the aftermath of World War II. Sir Ian McKellen plays Holmes, long retired from his career as a sleuth, and now living simply on the south coast of England with his housekeeper Mrs. Munro (Laura Linney), and her young son Roger (Milo Parker). As his mental health begins to deteriorate due to the onset of Alzheimer’s disease, the increasingly frustrated and cantankerous Holmes struggles to recall the details of his last case, 30 years previously, the outcome of which led directly to his retirement; the only bright spot is his growing paternal relationship with the bright and inquisitive Roger, who he is teaching to tend to the bees in his apiary. Read more…
INSIDE OUT – Michael Giacchino
Original Review by Jonathan Broxton
The last couple of Pixar movies – Cars 2, Brave, Monsters University – have been comparative disappointments by their ludicrously high standards, and a turnaround in fortune was required. As such, directors Pete Docter and Ronnie Del Carmen stepped up and produced Inside Out, a beautiful, moving portrait of what it means to grow up. The conceit of the story is built around the theory developed by renowned psychologist Paul Ekman that the human experience is built around six core emotions: anger, fear, sadness, disgust, and joy. The film follows Riley, a happy 11-year-old Midwestern girl, whose carefree life is thrown into turmoil when her parents move to San Francisco. Inside Riley’s head, the five emotions – Joy (Amy Poehler), Sadness (Phyllis Smith), Anger (Lewis Black), Fear (Bill Hader), and Disgust (Mindy Kaling) – try to guide her through this difficult, life-changing event; throughout her life to date, Joy has been Riley’s dominant emotion, but ever since the move Sadness has been inexplicably compelled to move to the forefront. After one particularly traumatic event on the first day at her new school, Joy and Sadness are accidentally swept out of the Headquarters where Riley’s conscious thought is processed, and into the labyrinthine storage area where Riley’s long-term memories are kept; as such, the mis-matched pair must find a way to return to HQ, where Anger, Fear and Disgust have been left in control. Read more…
STAR TREK III: THE SEARCH FOR SPOCK – James Horner
MOVIE MUSIC UK CLASSICS
Original Review by Craig Lysy
Star Trek II: The Wrath of Khan achieved tremendous critical and commercial success, and so Paramount quickly authorized the making of a third film. However, director Nicholas Meyer refused to return in protest over changes made to the prior film’s ending without his consent. When Nimoy was asked to reprise the role of Spock, he said yes, with the caveat that he wanted to direct the film. The studio hesitated, but ultimately agreed, and Harve Bennett was again hired to produce and write the script. The original crew ensemble returned including; William Shatner as Captain Kirk, Leonard Nimoy as Spock, DeForest Kelly as Dr. McCoy, James Doohan as Scott, George Takei as Sulu, Walter Koenig as Chekov and Nichelle Nichols as Uhura. Joining the cast was Christopher Llyod as the villain Captain Kruge, Robin Curtis replacing Kirstie Alley as Lieutenant Saavik, Mark Lenard as Sarek, Merritt Buttrick as Dr. David Marcus, and the renowned Dame Judith Anderson as the Vulcan high priestess T’Lar. Nimoy wanted the film to be operatic with a transpersonal exploration of the themes of life, death and rebirth. Yet he also wanted to explore on a more personal level, the deeper meaning of friendship. Nimoy relates: “What should a person do to help a friend? How deeply should a friendship commitment go? And what sacrifices, what obstacles, will these people endure?” Read more…
THE MAN FROM U.N.C.L.E. – Daniel Pemberton
Original Review by Jonathan Broxton
The Man from U.N.C.L.E. is director Guy Ritchie’s remake of the classic 1960s TV show of the same name, which starred Robert Vaughn and David McCallum as Napoleon Solo and Illya Kuryakin, crack agents for the CIA and KGB, respectively, who are recruited by the British to work for the cross-agency spy organization U.N.C.L.E. (“United Network Command for Law and Enforcement”) at the height of the Cold War, to take down whatever was threatening world peace that week. This reboot of the show features Henry Cavill and Armie Hammer as Solo and Kuryakin, who are teamed together to help an East German defector named Gabi Teller (Alicia Vikander) locate her missing scientist father, who may be helping wealthy shipping magnate Victoria Vinciguerra (Elizabeth Debicki) build a nuclear weapon which could destabilize the world. The film is an absolute delight, featuring a trio of excellent central performances from Cavill, Hammer and Vikander, which spares no expense in playing up their fish-out-of-water mismatched buddy dynamics. The dialogue is witty and sharp, the action is exciting, the 1960s atmosphere is captured perfectly through the costume and set design, and there is a rich vein of clever humor punctuating the entire project. Read more…
MISSION: IMPOSSIBLE – ROGUE NATION – Joe Kraemer
Original Review by Jonathan Broxton
I have, in my head, a list of composers whose level of talent is directly inverse to the number and quality of films they are asked to score. Some of them are composers who used to get major assignments but have fallen off the radar of late: people like Bruce Broughton, Cliff Eidelman, Trevor Jones, and David Newman. Others are composers who, for whatever reason, have yet to make that major breakthrough despite having talent in abundance: people like Neal Acree, Scott Glasgow, Federico Jusid, Nuno Malo, and too many others to list here. For the longest time Joe Kraemer was on that list too, but with the release of Mission: Impossible – Rogue Nation, I might finally be able to cross him off. The film is the latest action extravaganza starring Tom Cruise, Jeremy Renner, Simon Pegg, and others, as agents with the top-secret IMF espionage and counter-terrorism force, seeking to take down ‘the Syndicate’, a network of highly skilled operatives who are dedicated to establishing a new world order via an escalating series of terrorist attacks and disasters. The movie globe-trots from Belarus to Cuba, to Vienna, to Morocco, and finally the UK, with the usual array of breathtaking stunts; it is directed by Christopher McQuarrie, the Oscar-winning screenwriter of The Usual Suspects. Read more…
STAR TREK II: THE WRATH OF KHAN – James Horner
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
James Horner won my heart in 1982 with his score to Star Trek II: The Wrath of Khan and he quickly became my favorite composer. His tragic and untimely death was personally devastating to me and I to this day continue to mourn his passing. I realized that I was about to reach a milestone, my 100th review, and thought what could be more fitting than to use this special occasion to celebrate his legacy with a heart-felt homage to one of his greatest scores.
Although disappointed by the lukewarm reception of Star Trek: The Motion Picture in 1979, Paramount was committed to continuing with its enormous investment in resurrecting the franchise, albeit with different leadership. Gene Roddenberry was assigned blame for the lethargic and plodding Star Trek: The Motion Picture and ‘promoted’ to executive consultant. Harve Bennett was given creative control and tasked with writing a better and more memorable story, which recaptured the spirit of the TV series. Bennett quickly realized that he faced a serious challenge in developing the new Star Trek movie, as remarkably, he was unfamiliar with its history, having never seen the television show! He studiously watched all the episodes, and had an epiphany after viewing “Space Seed”. He correctly reasoned that what was needed to make Star Trek successful again, was a villain worthy to serve as Kirk’s foil. The fierce and indomitable Khan Noonian Singh fully embodied the coveted perfect adversary for the film. Read more…
ANT-MAN – Christophe Beck
Original Review by Jonathan Broxton
A wholly unlikely new addition to the Marvel Cinematic Universe, Ant-Man is the latest super hero film to hit the silver screen. Originally created by Stan Lee, Larry Lieber and Jack Kirby for the comic ‘Tales to Astonish’ in 1962, this first big-screen adventure for the character focuses on cat burglar Scott Foley, whose efforts to put aside his life of crime are stymied by his inability to hold down a regular job, jeopardizing his relationship with his daughter Cassie. Talked into committing “one last job” by his former cellmate Luis, Scott breaks into a house to steal a safe, unaware that the house belongs to scientist and inventor Hank Pym, who has created a suit which will shrink the wearer down to the size of an ant, while simultaneously giving him super-human powers. Unbeknownst to Scott, Pym – who became the original Ant-Man in 1963 – has manipulated events so that he can convince Scott to become a new Ant-Man, and help him retrieve the shrinking technology from his former protégé, the ruthless Darren Cross, who has stolen it, and intends to it sell to agents of Hydra. The film is directed by Peyton Reed, stars Paul Rudd as Foley, Michael Douglas as Pym, Corey Stoll as Cross, and Evangeline Lilly as Pym’s daughter Hope Van Dyne, and has an original score by Christophe Beck. Read more…
SILVERADO – Bruce Broughton
THROWBACK THIRTY
Original Review by Jonathan Broxton
Despite being the quintessential genre of American cinema, the western often goes through periods of decline, lulls in production where very few films of quality are produced by Hollywood. The early 1980s was one of those periods when cowboys were seemingly out of fashion, having been tainted by the overblown budget and massive failure of Heaven’s Gate at the box office in 1980. It would take five years for someone to take a gamble on another one, but two came out in the summer of 1985 – Clint Eastwood’s introverted and introspective Pale Rider, and Lawrence Kasdan’s more traditionally adventurous Silverado. With an all-star cast of talented character actors including Kevin Kline, Scott Glenn, Kevin Costner, Jeff Goldblum, Brian Dennehy, Danny Glover, Linda Hunt, and even John Cleese, the film follows the escapades of four drifters who become unlikely friends and find themselves in the small town of Silverado, New Mexico, caught in the middle of a land war between open range cowboys and homesteading farmers, and dealing with individual demons from their own past. The film was a modest financial success, taking $32 million at the box office, and was generally well received at the time, but as the years have gone by Silverado is now looked on more favorably, and is considered a turning point in the revitalization of the genre. Read more…
I AM BIG BIRD: THE CAROLL SPINNEY STORY – Joshua Johnson
Original Review by Jonathan Broxton
Sesame Street was one of the few American kid’s TV shows that aired in the United Kingdom when I was a child, so I grew up being very familiar with its cast of characters, both human and muppet. While that lovable ball of red fuzz Elmo is undoubtedly the star of the show these days, for many years the center of attention was Big Bird, the eight-foot tall yellow creature who has the innocence and inquisitiveness of a six year old child. Since the character first debuted on the show in 1969 he has been played by Caroll Spinney, a master puppeteer and artist. Now 81 years old, Spinney is the subject of this new documentary feature from directors Dave La Mattina and Chad Walker, which charts Spinney’s life, from his early years growing up in Massachusetts, to the beginnings of his friendship with Jim Henson, and his work on the Street controlling both Big Bird and Oscar the Grouch. Read more…
ANTHONY ADVERSE – Erich Wolfgang Korngold
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Warner Brothers Studio was in the market for a period piece romance and found its inspiration in Harvey Allen’s massive 1200 page novel “Anthony Adverse” (1933), paying an amazing $40,000 for the screen rights. Veteran director Mervyn LeRoy was hired to manage the project with Sheridan Gibney and Milton Krims tasked with adapting the mammoth novel for the big screen. The stellar cast included Frederic March as Anthony Adverse, Olivia de Havilland as Angela Giuseppe, Donald Woods as Vincent Nolte, Anita Louise as Maria Bonnyfeather, Edmund Gwenn as John Bonnyfeather and Claude Rains as Marquis Don Luis. Read more…
MAD MAX BEYOND THUNDERDOME – Maurice Jarre
THROWBACK THIRTY
Original Review by Jonathan Broxton
The third in director George Miller’s series of Mad Max movies, Beyond Thunderdome once again starred Mel Gibson and continued the adventures of the former Australian Highway Patrol officer Max Rockatansky, as he tries to survive in a post-apocalyptic society. Fifteen years after the events of Mad Max II, Max finds himself in Bartertown, a vicious society of scavengers and opportunists overseen by the ruthless Aunty Entity, played by Tina Turner. In exchange for returning to him his vehicle – which she has scavenged – she forces him in to conflict with Master Blaster, a dwarf and his hulking masked bodyguard, who control Bartertown’s fuel supply; to resolve the conflict, Max finds himself taking part in gladiatorial games inside the ‘thunderdome’, an enormous metal arena where people duel to the death. The film was an enormous success – the highest grossing film of the original trilogy – and further cemented Mel Gibson’s box office bankability as a leading man; his next film would be the smash hit buddy-cop action movie Lethal Weapon, two years later. Read more…
POLDARK – Anne Dudley
Original Review by Jonathan Broxton
Poldark is one of those British period romantic dramas that the BBC does so well. Based on the series of historical novels by Winston Graham, this is actually the second adaptation of the story made by Auntie Beeb, following the massively popular and successful series starring Robin Ellis and Angharad Rees which first began airing in 1975. The stories follow the fortunes of Ross Poldark, a British Army officer who returns to his home in Cornwall from the American Revolutionary War only to find that his fiancée, Elizabeth Chynoweth, having believed him dead, is about to marry his cousin Francis. Ross attempts to restore his own fortunes by reopening one of his family’s long-derelict tin mines, and after several years he marries Demelza Carne, a poor servant girl, and gradually comes to terms with the loss of Elizabeth’s love. However, as is always the case with stories such as these, the course of true love never runs smooth, and the dramatic saga of the Poldark family continues across the generations. The show stars Aidan Turner as Poldark, Eleanor Tomlinson as Demelza, Heida Reid as Elizabeth, and Kyler Soller as Francis. Read more…
BACK TO THE FUTURE – Alan Silvestri
THROWBACK THIRTY
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Jonathan Broxton
In the spring of 1985, Robert Zemeckis was a young up-and-coming director who had enjoyed some success with the Michael Douglas-Kathleen Turner adventure flick Romancing the Stone the year before, but for the most part was still largely an unknown quantity. His breakthrough came with the release of Back to the Future, a classic time-travelling comedy adventure which went on to become the biggest grossing film of the year, made Michael J. Fox a movie star, and cemented the much-derided DeLorean automobile into cinematic folklore forever. Fox stars as Marty McFly, a typical 1980s kid from suburban California, who is accidentally sent back to the year 1955 by his friend, scientist and inventor Doc Brown (Christopher Lloyd), who has built a time machine out of the aforementioned DeLorean. Stranded in time and without enough fuel to return home, Marty must seek help from the 1955 version of Doc – but, unfortunately, he inadvertently puts his own future at risk when the teenage version of his mother Lorraine (Lea Thompson) meets and develops a crush on him rather than George (Crispin Glover), the man destined to be his father… Read more…
LIFEFORCE – Henry Mancini
THROWBACK THIRTY
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Jonathan Broxton
What do you think of when you think of the music of Henry Mancini? The gentle romance of Breakfast at Tiffany’s? The effortlessly cool jazz of Peter Gunn or The Pink Panther? The forbidden passion of The Thorn Birds? The playful “Baby Elephant Walk” from Hatari? I’d bet my bottom dollar that most people would come up with those classics long before they thought of an epic orchestral sci-fi horror score, but that’s exactly what Mancini wrote for Lifeforce, a British-American production directed by Tobe Hooper and produced by the notorious Yoram Globus and Menahem Golan for Cannon Films. The film is a loose adaptation of Colin Wilson’s 1976 novel The Space Vampires, and stars Steve Railsback as the head of a multi-national space exploration team sent to investigate Halley’s Comet as it makes one of it’s regular 75-year passes past Earth. The team finds a space craft concealed inside the comet’s corona, and inside the space craft they find the preserved bodies of three seemingly humanoid aliens in suspended animation, including one incredibly beautiful female. However, when the space exploration team’s ship returns home, Mission Control in London finds it empty, save for the three aliens, which soon awake and begin draining ‘life force’ energies from every human they encounter. The film co-starred Peter Firth, Frank Finlay, Patrick Stewart, and Mathilda May, who spends almost the entire film completely naked; despite this obvious selling point, the film was a disaster, recouping less than half of its $25 million budget, and receiving terrible reviews from most critics of the time. Read more…
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