Posts Tagged ‘John Williams’

STANLEY & IRIS – John Williams

February 21, 2020 Leave a comment


Original Review by Jonathan Broxton

After enjoying a 1980s which saw him score two Star Wars movies (one of which is, in my opinion, the best score ever written), three Indiana Jones films, and such standalone masterpieces as E.T. The Extra-Terrestrial, Empire of the Sun, and Born on the Fourth of July, all while picking up one Oscar from eleven Best Score nominations, one could be forgiven for thinking that Williams would begin the 1990s with yet another blockbuster to put under his belt. Instead, his first score of the new decade was for Stanley & Iris, a small, intimate drama directed by his old friend Martin Ritt, for whom he previously scored Pete ‘n’ Tillie in 1973 and Conrack in 1974. The film starred Robert de Niro and Jane Fonda in the title roles, and it tells the story of the gentle romantic relationship that develops between Stanley, a kind-hearted baker who loses his job when it is discovered that he is illiterate, and Iris, a lonely widow who teaches him how to read and write. It was also the last film Ritt directed prior to his death in December of that year. Read more…

ALWAYS – John Williams

January 30, 2020 Leave a comment


Original Review by Jonathan Broxton

Always is the Steven Spielberg film most people tend to forget. Sandwiched between such classics as Indiana Jones and the Last Crusade, Schindler’s List, and Jurassic Park, it came during the period where Spielberg was alternating between making major box office blockbusters and smaller, more personal films that tackled intimate themes and emotions. Always is a remake of the 1943 Spencer Tracy film A Guy Named Joe, which was written by Dalton Trumbo. Richard Dreyfuss stars in the Tracy role as Pete Sandich, a daredevil pilot who works putting out forest fires; his long-time girlfriend Dorinda (Holly Hunter) and best friend Al (John Goodman) fear that his recklessness in the air will lead to tragedy. Their worst fears come true when Pete is killed in a plane crash saving Al’s life; in the afterlife, Pete is given guidance by an angel-like figure (Audrey Hepburn, in her final screen role), and told that he has one last life to save before he can move on to heaven – Dorinda’s, who has become overwhelmingly grief stricken and suicidal as a result of Pete’s death. Read more…


December 26, 2019 1 comment


Original Review by Jonathan Broxton

In the late 1970s and 1980s a number of prominent American filmmakers took it upon themselves to take a long, hard look at the political and social ramifications of the country’s involvement in the Vietnam War. American involvement in the conflict began in the early 1960s, and lasted until the fall of Saigon in 1975, resulting in the deaths of more than 50,000 American military personnel, and hundreds of thousands more wounded. Chief among those filmmakers was Oliver Stone, who was himself a Vietnam vet. His 1986 film Platoon took a harrowing look at the war from the point of view of the men serving on the front lines, and he won Best Picture and Best Director Academy Awards for his trouble. Born on the Fourth of July, which was released in December 1989, took an equally harrowing look at what happened to those men when they finally came home. Read more…


December 23, 2019 8 comments

Original Review by Jonathan Broxton


When you’re a critic or reviewer, you often get accused of being biased, especially when you write a review that is contrary to the opinion of the accuser. And, of course, this is true. It’s impossible to remove bias from any opinion because your biases inform your feelings and your reactions to whatever it is you’re expressing an opinion about. Your bias comes from your life experience, your culture, your personality, and your taste: effectively, it’s the sum of who you are. For me, a piece of critical writing without bias is pointless because then you’re never actually sharing your point of view – in effect, you’re just describing something, and never describing how it makes you feel, and most importantly why. All art should make you feel something, good or bad, because otherwise what’s the point of art? Over time, a critic’s biases will become a clear and important part of what they write, and the reader, if they invest enough time into learning them, will be able to weigh those subjective biases against more objective standards, and tell whether or not the end result meshes with their own opinions, and their own biases. So, from the point of view of this review it’s important to point out that I am biased, heavily, to have a positive view of Star Wars. Read more…


June 20, 2019 2 comments


Original Review by Jonathan Broxton

The third movie in director Steven Spielberg’s Indiana Jones series was Indiana Jones and the Last Crusade, and whereas 1984’s Temple of Doom was a prequel to Raiders of the Lost Ark, Last Crusade was a direct sequel, set just two years later in 1938. Harrison Ford returns as the titular archaeologist-adventurer, who is sent off on a globe-trotting escapade when he receives news from American billionaire Walter Donovan (Julian Glover) that his long-estranged father Henry Jones (Sean Connery) has gone missing while searching for the holy grail. Jones teams up with his old friends and colleagues Marcus Brody (Denholm Elliott) and Sallah (John Rhys-Davies) on the quest to find his father, and quickly becomes embroiled in a vast labyrinthine plot involving ancient myths and legends, a brotherhood of religious warriors, way too many Nazis, and a beautiful Austrian art professor named Elsa Schneider (Alison Doody) to whom there is more than meets the eye. The whole thing is a delight from start to finish, with several wonderfully exciting action set pieces, and beautiful location settings, but the cornerstone of the film is the father-and-son chemistry between Ford and Connery, whose outward gruffness and constant bickering masks a deep love and affection. Whereas Ford is an all-action matinee idol hero, Connery is a slightly bumbling academic, more at home with books and libraries than punching Nazis in the face, but who is still able to make his son feel like a 12-year old when he calls him ‘junior’. Read more…

JURASSIC PARK – John Williams

February 25, 2019 2 comments


Original Review by Craig Lysy

Steven Spielberg became aware of Michael Crichton’s novel Jurassic Park as the two collaborated on the television series E.R. A bidding war for the rights ensued, with Spielberg and Universal Pictures prevailing over Warner Brothers and Tim Burton, Columbia Pictures and Richard Donner, James Cameron and Joe Dante. Kathleen Kennedy and Gerald Molen would produce the film with Spielberg directing. Spielberg understood the challenges he faced bring the dinosaurs to life and sought at all costs to not repeat the technical nightmare he experienced in Jaws. He turned to George Lucas’ Industrial Light and Magic Company to create groundbreaking computer –generated imagery and ended up making history. Crichton was hired to adapt his novel to the screen but Spielberg was unsatisfied with the violence. Malia Scotch Marmo was tasked with the rewrite in late 1991, but she also did not satisfy Spielberg’s vision. Universal executives brought in Casey Silver and David Koepp who ultimately crafted the script used in the film. A fine cast was assembled with Sam Neill securing the role of Alan Grant after William Hurt and Harrison Ford both declined. Joining him would be Laura Dern as Ellie Sattler, Jeff Goldblum as Ian Malcolm, Richard Attenborough as John Hammond, Bob Peck as Robert Muldoon, Samuel Jackson as Ray Arnold, B.D. Wong as Henry Wu, and Ariana Richards and Joseph Mazzello as Hammond’s niece and nephew Lex and Tim. Read more…


February 22, 2019 Leave a comment


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…