Charlie Brigden
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Posts posted by Charlie Brigden
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I agree, this is kind of why I came back here. But I just don't have the freaking time. I have a half-written review of Gremlins that's been sitting open for days, plus other stuff I need to listen to. The other reason is, I just can't afford them like I used to. Gremlins was one I had to make time for, but I've seen so many releases like 1941 go past because I didn't have the cash. Not a complaint as times are hard for everyone, but a reason nonetheless.
Thankfully I'm getting Wolfen for christmas!
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The Pops Britannia suite of JANE EYRE.
"The Return" is maybe John's finest hour.
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This is a good opportunity to put a new good-at-acting actress as Arwen and then digitally replace her in the Special Edition.
Unless...
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So which parts of LOTR are frequently terrible?
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If I remember correctly, an early incarnation of DINOSAUR was supposed to be like that, and would've been produced by Phil Tippett and Paul Verhoeven.
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I'd love to see a film about the dinosaurs. No humans, no talking, no subtitles. Dinosaur survival, a pseudo-documentary.
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It's a great box, but on the other hand it kind of sucks that scores like THE DAY THE EARTH STOOD STILL are only available if you pay $200.
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I love the track "The Reunion". Its one of the best tracks in the score.
Fun Fact: Williams has had 3 tracks (as far as I remember) named "The Reunion". The two others from A.I. and War of Worlds. All of them being amongst the highlights of their respective scores.
Can anyone name any other "Reunions"...
The original and best, from JANE EYRE.
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If we're going to books at any time, put my name down for A SONG OF ICE AND FIRE.
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Does not compute.
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The Harry Potter movies aren't even in the same league as the LotR movies.
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I love having physical items (especially LPs), but I also like the Kindle and don't have the space for books.
Also, due to shipping mainly, if the labels went to lossless downloads I would be happy.
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And a lot of it is usually down to how good the director and editorial guys are at telling the story, visually and audibly. I can think of a ton of moments where it could be described that we're "told how to feel", but the most successful of those are when the characters and story have been given enough audience investment that it becomes augmentation rather than direction.
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I asked what the forum thought of Morricone, it replied:
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Just gave it a few minutes of listen and I am afraid you are right, I am 95% sure the Oscar will go to the operetta pastiche The Artist. It is an infectious score I must say, though. The irony is that JW could have easily written a similar score, and probably better.
Heh, that sounds lovely. I am even more looking forward to this film (I thankfully have preview tickets). Hopefully I can see WAR HORSE at the same time.
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While I think he has a point with scoring as a whole, I don't get why he's going at Williams. Surely there are worse things in Hollywood scoring than his approach. Is this just because he works with Spielberg? The man has a petty dislike for SS to the point where he keeps going public and it makes him look like a jerk.
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WOLFEN - 1981, by Michael Wadleigh
The new Intrada release of Horner's score inspired me to pop this one in again. It's still one of the most interesting films of the early 80's. Partly paranoid 70's thriller with an environment twist, part glossy high-tech thriller realized with expensive SFX (and Spielberg's beloved Louma crane), it features Albert Finney as crusty cop on a murder investigation, who finds disturbing hints of what is behind some grisly murders in NYC.
As it turns out, packs of wolves rail against the Big Apple, which stands for all the dysfunctional molochs in western civilsation. While this may sound somewhat gimmicky, the film takes its time to reveal the whole scope of its mystery and grounds it in indian mythology. There are some truly frightening scenes when the wolves finally come out of the dark - wait for an attack on Wall St. which is as scary as it is impressively realized. The finale sees Finney making amends to his attackers, showing an understanding of what they are reacting to - the scene easily could have gone wrong, but it's here where everything comes together, from great acting to Horner's mystique-laden score (drawing from Ives' Unanswered Question). I forgive it some obvious-nesses and action movie clichés, for its riches are far outweighing any serious criticisms. Recommended.
I love this movie. It's such a unique approach, and as you say the finale works well, especially with that haunting epilogue cue from Horner.
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MV had all ready made a posting a while back about the Friday The 13th box set. It's coming.
Did he maybe also say which movies will be represented in this box set? All of 'em?!
1-6, all the Manfredini scores.
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I got you the first time, I have no idea. My comment was a joke, Mark Banning is a cover designer who doesn't always do brilliant work.
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Most of all, I love the use of Duck Tape (A-Woo-Ooo) in that first picture.
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Maybe Mark Banning designed it.
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Also it's a bit rubbish.
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Of course Jazz is American, however Belgium has a big jazz scene.
Also, I acknowledge the works of Bill Bailey.
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Of course Tintin should have jazz, he's from Belgium!
Elmer Bernstein's Slipstream released on Perseverance Records
in General Discussion
Posted
Did I miss something? I thought this was pulled as Perseverance hadn't obtained the proper clearance.