Jay

Anatomy of a Fall Wow! I loved this movie, it's really good. What I really grew to admire about it is how little it holds your hand; There are no exposition dumps whatsoever, you learn what you need to know through context organically, if you learn it at all! I also appreciated how much is left ambiguous and up to the viewer to decide. This is the kind of film that will be more rewarding than others on second watch due to all this. But even on first watch there is so much to admire; While the screenplay is the star, I think, Sandra Hüller is so good as the main character, as are both lawyers and her son. The husband is wisely barely shown to really help put you in the minds of both sides of the case as they are presenting them. Just a really good movie, I don't know what else to say It's on Hulu

Let It Be has been restored and will premiere on Disney+ in less than a month

Let It Be has been restored and will premiere on Disney+ in less than a month

Oh wow looks great. A roast episode, that should be interesting!

Nobuo Uematsu, Shotaro Shima, Masashi Hamauzu, Shoya Sunakawa, Mitsuto Suzuki, Junnosuke Usui, Reo Uratani, Ryo Furukawa, Yoshitaka Suzuki, Yoshinori Nakamura, Tadayoshi Makino, Keiki Kobayashi, Nozomi Toki, Shingo Kataoka, Tsuyoshi Sekito - FINAL FANTASY VII REBIRTH (OST album) I finally got through this 9 hour long original soundtrack album, and I love it. In some ways, it's even better than Remake, though in other ways it's not as good. It had more "detours" (for lack of a better word) into dubstep, techno, and pop songs than Remake does, and I generally didn't care for any of those tracks. And some of the score tracks sort of repeat arrangements from Remake without much difference. However, the majority of the rest of the score is is really good, with a particular highlight being the entire ending, from "Listen To The Cries of the Planet" until the end. What a powerful climax! I'll begin the whittling down to shorter presentations now

I don't know how would anybody here know the answer to that question.

I wonder why in the world I've stopped getting their newsletter emails after 20 years of getting every one?

Maybe since Hollow Knight: Silksong was recently rated E by the ESRB, it will finally be mentioned in another Indie Direct, and maybe even shadow dropped afterward? ... I'll put on my clown make-up now.

I've never seen it, I meant I like all the films Cameron has directed It is depressing that every single time anyone makes another Terminator movie, they ignore every sequel that came before it and do another direct sequel to T2, and that they are all bad films in different ways. At least the Sarah Connor Chronicles TV series was decent, and the ending of T3 was kinda cool. Salvation and Genisys though, yikes.

Drive-Away Dolls How to describe this movie... a lesbian road trip crime thriller comedy? It's very Coen-brothers-esque, and is in fact directed by one of them (Ethan), from a script he co-wrote with his wife Tricia Cooke. Apparently they've been trying to make it since the early 2000s, which might explain its 1999 setting (frankly too much would need to be changed if it was set in modern day). Margaret Qualley and Geraldine Viswanathan star as two friends to use a drive-away car service to go to Tallahassee, Florida from Philadelphia, Pennsylvania, unaware that the car was meant for some criminals to take and has some very expensive cargo where its spare tire should be. What ensues in an occasionally funny road trip, peppered with moments of extreme violence as the two girls are not only pursued by the criminals (Colman Domingo, Joey Slotnik, and CJ Wilson), but also one of their exes (Beanie Feldstein). All these actors put in good work here, as does Bill Camp as the owner of the drive-away service who has a run-in with the criminals, Pedro Pascal as the initial owner of the myesterious package in the car, Matt Damon as a guy who wants the package, and Miley Cyrus as.... hard to explain lol. It's all wrapped up in around 80 minutes which is good because the film, overall, is not quite a success. The parts that shine (the cast, some funny parts, the general story) are off-set by parts that do not: Qualley's accent (hard to understand at times), scenes that I think are meant to be funny but don't quite work, uneven pacing (odd to see in a Coen movie), and the strange juxtaposition of extreme violence in an otherwise very light movie (something the Coens have pulled of just fine many times before, but didn't quite gel for me here). The way the film handles nudity is also a distraction; everyone the girls hook up with gets fully naked, getting the point across and showing how different Qualley's character is from Viswanathan's. But then neither of the two leads do, which leads to some scenes having extremely awkward framing and editing which takes you out of the scene completely, when you're supposed to be the most invested. If there were no filming restrictions these scenes wouldn't have been distracting and would have made for an overall better film. I admired some of Ethan's directing, such as some unique transitions from one scene to the next. For example, someone will shake something and the next scene's opening frames will kind of shake into the forefront, or something will fall and the next scene's beginning will sort of fall in over the end of the current scene. The problem is that he starts to overuse these visual tricks, making the ones that made organic sense lose their worth when the trick is just repeated in a less-good way later. Qualley is really good though, and its worth seeing just for her performance (hopefully you won't find the accent as distracting as I did). Viswanathan has impressed me in just about everything I've seen her in, yet here seems like she was overdirected or something; her character is meant to be repressed and then come out of her shell by the end of the movie, but she plays it too reserved, I think; She could have made the film funnier if she had been allowed more freedom I think. So overall, a mixed bag, but still worth checking out. It's on Peacock.

It looks like Robert Townson's post about this album isn't here yet: John Williams Reimagined Sara Andon, flute; Cecilia Tsan, cello; Simone Pedroni, piano Produced by Robert Townson So proud to announce this 2-CD set that will be released by Warner Classics on August 23, 2024. Star Wars. Memoirs of a Geisha. Schindler’s List. Far and Away. E.T. the Extra-Terrestrial. The list goes on and on. Legendary film composer John Williams has for decades reigned as the most celebrated film composer of all time. But John Williams Reimagined is Williams like you’ve never heard him before. John Williams’ themes and orchestrations have resonated in moviegoers’ minds for generations. Steven Spielberg called him “the greatest of all maestros.” George Lucas once told him, “You brought my stories to life beyond my wildest dreams.” For film score producer par excellence Robert Townson, it was the “extraordinary flute solos John has featured in so many of his film scores” that triggered the idea of “a John Williams album…unlike any other.” But could the album Townson imagined—scored for chamber trio of flute, cello, and piano—become reality? With a long career of film score productions to his credit, the producer knew that Williams seldom approves new arrangements of music from his iconic scores. Townson had more than a dream, though. He had a dream ensemble in mind: flutist Sara Andon, cellist Cécilia Tsan, and pianist Simone Pedroni. So, with no guarantee they’d ever see the light of day, he enlisted Pedroni to create three sample transcriptions; record them with the three musicians; and sent them to the composer. Much to their delight, Williams approved Townson’s full track list and sanctioned the trio to exclusively record and perform the full set. Pedroni, for his part, describes the orchestral color of John Williams’ film scores as “always masterful—which made me think that it is impossible to do better.” Yet as the pianist worked on the transcriptions he realized that “Williams’ compositional genius…pure, deep, and great in itself” was precisely what would enable him to reimagine the selections—some iconic, some relatively obscure—for the chamber trio Townson had in mind. The result is a revelation. Familiar themes pepper the track list, intermingling with lesser-known music. “Princess Leia’s Theme” from Star Wars made a lasting impression on Sara Andon when she first heard it as a child. The score for Memoirs of a Geisha features cello solos that Williams wrote for his friend Yo-Yo Ma, and that translate perfectly for Cécilia Tsan, who is a childhood friend of Ma. The trio premiered their John Williams Reimagined concert recital at the Rome Film Music Festival in 2023. The selections cover more than half a century—from Williams’ Emmy-winning score for the 1970 telefilm Jane Eyre—Townson’s original inspiration for the album—to the main theme of 2022’s The Fabelmans, one of over two dozen collaborations between Williams and Spielberg, which affords the brilliant Pedroni a solo piano spotlight. From the canon of iconic Williams scores over this timespan, the two-CD set includes selections from Harry Potter and the Prisoner of Azkaban, A.I. Artificial Intelligence, The Witches of Eastwick, Jurassic Park, The Accidental Tourist, Dracula, The Sugarland Express, Jane Eyre, War Horse, Hook, The Patriot, and more, not to mention the Star Wars saga, Schindler’s List, and E.T. the Extra-Terrestrial. During the recording sessions in Los Angeles, John Williams invited the trio to perform a selection of the new arrangements for him privately in his writing studio at Amblin. This was in 2022, during Williams’ 90th birthday year, and he was being celebrated all over the world. Following the performance of “The Face of Pan” from Hook, the composer was very moved. He warmly remarked, "This is one of my best birthday gifts," and gave each of the musicians a hug. Sara, Cécilia and Simone will remember this moment with immense joy and heartfelt gratitude for the rest of their lives. Film music producer Robert Townson founded his first record label in 1985 and has produced nearly 1,500 film music recordings over the past four decades. He has worked with a galaxy of eminent composers, from Jerry Goldsmith, Elmer Bernstein and Alexandre Desplat to Hans Zimmer, Lalo Schifrin, Danny Elfman, and of course John Williams. Flutist Sara Andon is a versatile international soloist and recording artist equally at home with symphonic and chamber music, opera, ballet, new music, jazz, and Broadway. She has performed with top-tier orchestras and is heard on countless film, TV and video game scores. She has recorded with such composers as Brian Tyler, John Debney, Marco Beltrami, and Jeff Russo and for labels Sony Classical and Varèse Sarabande. Cellist Cécilia Tsan, winner of the Debussy Prize at the Paris International Competition, performs as a soloist and chamber musician in her home country of France and abroad. She has recorded hundreds of movie soundtracks in Los Angeles by composers such as John Williams, Randy Newman, James Horner, and Alan Silvestri. Pianist, conductor and arranger Simone Pedroni launched his solo career winning the gold medal at the Van Cliburn Competition in 1993. He has performed in sold-out concerts throughout the world, working with artists such as Yehudi Menuhin, Zubin Mehta, and Leonard Slatkin, and recorded for labels including Sony Classical and Decca Records. JOHN WILLIAMS REIMAGINED - TRACKLIST CD 1 1. Star Wars: Princess Leia’s Theme Jane Eyre 2. To Thornfield 3. Reunion Memoirs of A Geisha 4. Sayuri's Theme 5. A Dream Discarded 6. Going to School 7. Images: In Search of Unicorns The River 8. Growing Up 9. The Pony Ride 10. Love Theme 11. Young Friend’s Farewell 12. The Sugarland Express: Theme 13. Elegy for Cello and Piano 14. A.I.: The Reunion 15. The Empire Strikes Back: Han Solo and the Princess 16. Far and Away: County Galway, Joseph and Shannon, Blowing Off Steam, Finale CD 2 1. The Fabelmans 2. Seven Years in Tibet 3. Jurassic Park: A Tree for My Bed 4. Hook: The Face of Pan 5. The Accidental Tourist 6. Schindler’s List: Theme Harry Potter and the Prisoner of Azkaban 7. Double Trouble 8. A Window to the Past 9. Hagrid the Professor 10. Chasing Scabbers/Hagrid’s Friendly Bird and The Snowball Fight 11. Dracula: End Credits 12. War Horse: Dartmoor 1912, Bringing Joey Home and Bonding, The Death of Topthorn, Finale and The Homecoming 13. The Patriot 14. Sabrina: How Can I Remember? The Witches of Eastwick 15. The Tennis Game 16. The Seduction of Suki and The Ballroom Sequence 17. Devil’s Dance 18. E.T.: Over the Moon Recorded and Mixed by Gabe Burch Mastered by Patricia Sullivan at Bernie Grundman Mastering https://www.facebook.com/100007586280737/posts/3571911583071683/

I like all his movies. Well, I never saw the Piranha one

Has anybody on JWFan heard this new release?

Nope.

Ordered!