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Everything posted by SteveMc

  1. Could someone tell me how the DG stream works? Can it be paused and played later, or do I have to make sure I have enough time to watch the whole thing through before starting it?
  2. Joe Porcaro, jazz drummer and percussionist, father of the Toto Porcaros and JW collaborator died on the 6th. https://www.facebook.com/permalink.php?story_fbid=1145260069191374&id=100011221744528
  3. RIP Truly one of the great composers. It disgusted me to open the classical music Reddit and see the thread on his death being locked by the mods because he was "almost exclusively a film composer". Pathetic ignorant snobs.
  4. Happy Birthday @Nick Parker!!
  5. That counts as a comment. Next time use this: ......
  6. I've said it before, CE3K is more than a film score, it is a philosophical symphonic statement by John, where he fully explores and fulfills the exploration of the power of myth through the synthesis of romantic and modern musical language that he outlined in the program notes of his Symphony.
  7. Live in Frankfurt back in the day.
  8. Yeah, I love it when John digs deep like that, going beyond the surfacing meaning of a scene and filling up sometimes broad canvases with this sort of quietly mysterious style of writing. It's more than style, I think. I think Horner did some similar things, as in this choral portion he wrote for something of a transitory passage in An American Tail And, I think much of his score to The Spitfire Grill is in this vein. He did this thematically, where the melody for the mystery surrounding the forest hermit serves also as a spiritual call from nature to draw in the protagonist, something developed in this cue, which shares a bit of John's stylistic approach as well.
  9. Quality over quantity, baby.
  10. The Spitfire Grill I gave this one a go mainly to hear Horner's magnificent score in its natural habitat. The rather poor reviews led me to expect this movie to be your typical rather amateur level cliched faith-based picture that ends up being more message than movie. It's Sundance win and the Horner's efforts gave me a sneaking suspicion that it might be more than that. Well, it's no forgotten masterpiece, but this story of a young woman trying to leave her past behind in a very small Maine town is still well worth watching on its own merits. I'm not sure what all the fuss was about back in '96 about this being a movie financed by Catholic priests. It's certainly not drowning in Catholic or even broadly Christian moralizing. It's just a movie. There is a kind of a message here if you squint, with the protagonist being a sort of Christ-figure, but it seems at least on first impression to have more in common with the kind of transcendentalism you find in Emerson or Thoreau, which is appropriate considering the New England setting. This setting helps make this a very pretty movie. Pastoral landscapes, lush forests, and cozy interiors are all filmed in a way that brings out beauty and color without sacrificing realism. The same can be said about the movie's performances, which mostly feel rather grounded and unforced. The dialogue is that type of folksy that you usually encounter in movies and on TV, but I suppose there are people who speak like this out there. The script itself has some structural issues, with highs and lows feeling a bit rushed together, preventing the build up to the conclusion from having the impact that I think writer/director Lee David Zlotoff (of MacGyver fame) intended. Still, he certainly foreshadows things well. As for cliches, well this is neither a case of throwing together a string of cliches and calling it a movie and nor is it a work that takes cliches and creates something new out of them. It just seems quietly comfortable with taking the path of least resistance much of the time. And I guess that sort of thing has its place. But, it does somewhat transcend that at times. For much of the movie, the secondary characters and the audience are led to believe that this is indeed a typical type of story where the protagonist, Percy, fresh out of prison, needs to find redemption. But, as it turns out, she does not need redemption, she needs healing. Ironically, the town of Gilead can't quite give this to her. In a cliched movie she would find this in the reliable trinity of friendship, nature, and romance. But Percy's wounds are too deep for romance, misunderstandings can be fatal to friendship, and heeding the siren call of nature can lead to a hard kind of healing. As well, the movie manages to say something important, albeit rather subtly, about how victims of sexual abuse are treated in society. At any rate, I enjoyed the movie and am not surprised Horner found himself drawn to it. 3/4
  11. I doubt I'll ever reach 20,000
  12. Happy Birthday @Dixon Hill and @Incanus!
  13. Hospitalizations are on the rise here in Texas at considerably higher levels than during previous months. So, this isn't over.
  14. Some Horner to mark the day. The Land Before Time - Maybe his finest work. It's a stirring symphonic poem in 5 parts, not counting the end credits. The writing is on the highest level. Wolf Totem A late work, but still a gem. Sounds almost like what a Horner Lord of the Rings would have been like. Again, some stirring lyrical moments. But there is also a certain drive to many cues that makes me sad Horner's talents were not more widely called upon in his last years. He was still relevant.
  15. Lovely and lyrical, but not schmaltzy. Very nice.
  16. 5 years. I remember where I was when I saw the news. Left me feeling numb and mortal.
  17. And the world keep on turning. And the sun keep on burning. And the children keep learning how to grow up big and strong.
  18. Spotlight (2015) Excellent movie. Director Tom McCarthy wisely decided not to make a movie with the usual obvious filmmaking flourishes, instead opting for a slightly streamlined version of Paul Greengrass's approach in United 93. McCarthy lets the weight and importance of the subject come through primarily. Similarly, all the actors do not take the opportunity to draw undue attention to themselves or their performances. They play their parts naturally and with humanity. Keaton, Ruffalo and Tucci are especially perfect. Nevertheless, the performances, the direction and the script subtly calls attention to important points in the story. Also, the production is fantastic. The wardrobes and the cars and trucks strewn about are remarkably faithful to the 9/11 era period. My only gripe here is that Pepsico may have shelled out some dough to have their circa 2015 branding in the breakroom. Perhaps the movie's greatest strength is that it stops far short of being a hagiography of its protagonists or falling upon the trope of moralizing about things. There is an air of sincerity about how power structures within and outside the newsroom are treated, how mistakes are made, how evil becomes tolerated, how faith is shaken, and how beginning to right wrongs is much more mundane, if you will, than the stereotypical moral crusade makes it out to be. It's all quite moving. 4/4
  19. Bill Clinton would have pardoned him
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