Academy Award Winners 2018

February 24, 2019 Leave a comment

The Academy of Motion Picture Arts and Sciences (AMPAS) have announced the winners of the 91st Academy Awards, honoring the best in film in 2018.

In the Best Original Score category composer Ludwig Göransson won the award for his score for the box office blockbuster Marvel super hero movie Black Panther. In accepting his award, Göransson said:

“Um, wow. Thank you, Ryan Coogler. Ryan… Ryan, working with you has been an incredible honor. I remember twelve years ago we were sitting in our dorm at USC writing the score for your first short film, and we’re here twelve years later, you know, celebrating one of the most important cinematic moments in history. I want to share this award with all the incredible African artists I worked with on the score – Baba Maal, Massamba Diop, Magatte Saw – and all the classical musicians in London that recorded on the score. And everyone… I also want to share this award with my mom, and dad, and sister – they insisted I play guitar- and my wife Serena, I love you so much. Thank you!”

The other nominees were Terence Blanchard for Blackkklansman, Nicholas Britell for If Beale Street Could Talk, Alexandre Desplat for Isle of Dogs, and Marc Shaiman for Mary Poppins Returns.

In the Best Original Song category, the winners were Stefani Germanotta (Lady Gaga), Mark Ronson, Anthony Rossomando, and Andrew Wyatt for “Shallow” from A Star is Born.

The other nominees were Kendrick Lamar Duckworth, Mark Spears (Sounwave), Anthony Tiffith, and Solana Rowe (SZA) for “All the Stars” from Black Panther; David Rawlings and Gillian Welch for “When a Cowboy Trades His Spurs for Wings” from The Ballad of Buster Scruggs; Marc Shaiman and Scott Wittman for “The Place Where Lost Things Go” from Mary Poppins Returns; and Diane Warren for “I’ll Fight” from RGB.

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THE ACCIDENTAL TOURIST – John Williams

February 22, 2019 Leave a comment

THROWBACK THIRTY

Original Review by Jonathan Broxton

The Accidental Tourist is a romantic drama film directed by Lawrence Kasdan, adapted from the acclaimed novel by Anne Tyler. It stars William Hurt as Macon Leary, an introverted travel writer whose relationship with his wife Sarah (Kathleen Turner) begins to break down after the death of their son. Sarah eventually leaves him and moves out, pending a divorce, and when Macon breaks his leg after tripping over his disobedient dog and falling down the stairs, he moves back into his childhood home with his eccentric siblings to recuperate. After a while, Macon hires the quirky Muriel Pritchett (Geena Davis) as a dog obedience trainer; despite the enormous differences in their personalities, a spark of attraction develops between the two, and they begin a relationship. However, Macon’s new life is thrown into turmoil when Sarah returns, wanting to re-kindle their marriage, forcing Macon to make some difficult decisions. The film was an enormous critical success, earning Academy Award nominations for Best Picture and Best Adapted Screenplay, and winning Geena Davis an Oscar for Best Supporting Actress. Read more…

IFMCA Award Winners 2018

February 21, 2019 Leave a comment

INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION ANNOUNCES WINNERS OF 2018 IFMCA AWARDS; “SOLO” TAKES SCORE OF THE YEAR, MULTIPLE WINS FOR JOHN POWELL, JAMES NEWTON HOWARD

The International Film Music Critics Association (IFMCA) announces its list of winners for excellence in musical scoring in 2018, in the 2018 IFMCA Awards.

The award for Score of the Year goes to British composer John Powell for his score for the Star Wars spin-off story “Solo,” which looked at the early life of the legendary rogue and intergalactic smuggler Han Solo. The film was directed by Ron Howard, and starred Alden Ehrenreich, Emilia Clarke, and Donald Glover. In describing the score, IFMCA members Asier Senarriaga and Óscar Giménez called Solo “a spectacular score that combines the classic ideas of Williams with the talent of Powell,” and proclaimed it “the score of the year,” while IFMCA member Jon Broxton – speaking about the score’s multitude of recurring character themes – said that the way Powell “incorporates all the thematic complexity into his score is masterful, but best of all is the way he allows them to develop organically; this is not just a rigid leitmotif score where mathematics trumps emotion. Instead, Powell engages in sensible and appropriate development, meaning that when the emotional outbursts do come, they pack a real wallop, and satisfy both the heart and the brain in equal measure.” Read more…

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COLD PURSUIT – George Fenton

February 19, 2019 Leave a comment

Original Review by Jonathan Broxton

In the late 1990s – which, to my shock and dismay, is now almost 20 years ago – I truly thought George Fenton was on the verge of becoming one of the truly great Hollywood A-lister composers. He had already picked up a handful of Oscar nominations for scores like Gandhi and Cry Freedom, Dangerous Liaisons and The Fisher King; he scored a string of popular successes, like Groundhog Day, Final Analysis, and You’ve Got Mail; and then he unleashed a 1-2-3 punch of magnificent romantic drama scores with Ever After, Dangerous Beauty, and Anna and the King at the very end of the millennium. This, coupled with his small-screen success scoring acclaimed nature documentaries for the BBC such as Blue Planet, seemed to indicate that he would be a major player for years to come. However, inexplicably, and despite and occasional sporadic box office hit, the prestige assignments began to dry up. He is still working, of course, but the level of acclaim and visibility he once enjoyed has diminished enormously, and I am at a loss to explain why, because he clearly still has the talent and creativity he always had. Read more…

SCHINDLER’S LIST – John Williams

February 18, 2019 1 comment

100 GREATEST SCORES OF ALL TIME

Original Review by Craig Lysy

The genesis of Schindler’s List lay with holocaust survivor Leopold Pfefferberg, whose tale of Oskar Schindler inspired Thomas Keneally to write his Booker Prize winning novel, Schindler’s Ark, in 1982. It came to pass that studio president Sid Sheinberg saw opportunity in the story and mailed Steven Spielberg a review of the book by the New York Times. Spielberg was deeply moved by the narrative and secured financial backing from Universal Pictures, which purchased the screen rights. Yet the then 37-year-old hesitated and ultimately delayed production ten years as he felt himself too young to take on the pathos of the Holocaust. When the time eventually came to begin production, he tasked Steven Zaillian with writing the screenplay, and the struggled to hire a director, soliciting several including Roman Polanski, Sydney Pollack, Billy Wilder and Martin Scorsese. Ultimately Spielberg took Wilder’s counsel to direct the film himself. For the cast he brought in an outstanding ensemble, which included Liam Neeson as Oskar Schindler, Ben Kingsley as Itzhak Stern, Ralph Fiennes as Captain Amon Göth, Caroline Goodall as Emilie Schindler, Jonathan Sagalle as Poldek Pfefferberg, and Embeth Davidtz as Helen Hirsch. Read more…

RAIN MAN – Hans Zimmer

February 14, 2019 Leave a comment

THROWBACK THIRTY

Original Review by Jonathan Broxton

There is a great serendipity in how Hans Zimmer became the film music megastar he is. Back in 1985 Zimmer co-scored the film My Beautiful Launderette with his mentor, Stanley Myers, when he was still a fresh-faced youngster working in London. That film was produced by Sarah Radclyffe, the co-founder of Working Title Pictures, who in 1988 produced A World Apart, the directorial debut feature of acclaimed cinematographer Chris Menges. That film was the first significant solo project of Zimmer’s career, and it just so happens that the film was seen by Diana Rhodes, the wife of director Barry Levinson, just as Levinson was working on his latest film, Rain Man. Rhodes recommended Zimmer to Levinson, and Zimmer received what he now refers to as ‘the call,’ which secured him the job, took him to Los Angeles, and utterly changed his life. Read more…

IF BEALE STREET COULD TALK – Nicholas Britell

February 12, 2019 1 comment

Original Review by Jonathan Broxton

If Beale Street Could Talk is the latest film from critically acclaimed director Barry Jenkins, whose previous effort Moonlight was the winner of the Best Picture Academy Award in 2016. The film is adapted from the novel by James Baldwin, and is a romantic drama charting the relationship between an African-American couple, Fonny and Tish, in New York in the 1970s. At its heart it is the story of two people deeply in love, and how that love endures despite all manner of difficulties – notably the casual racism towards black people in that era, the systemic corruption of the criminal justice system, and their own familial problems. Specifically, as it relates to Tish and Fonny, the core issue is the impending birth of their child, and how Fonny’s arrest for a crime he did not commit affects Tish and the rest of the family on the outside. The film stars Kiki Layne and Stephan James as the protagonist couple, and Regina King in a critically acclaimed supporting role as Tish’s mother. Read more…