Sentences with phrase «scoring films of all time»

Not exact matches

We adapted this ranking from our list of the worst sequels of all time, selecting the films that had a vast discrepancy in Rotten Tomatoes critic scores between their terrible sequels and great originals.

While Waits remains somewhat of an anomaly in the music industry — he also acts, scores films and plays and was a regular guest on Bob Dylan's Theme Time Radio Hour show — he serves as an example of a truly multimedia artist, able to promote his work in one medium through the use of others.

«Legendary filmmaker George A. Romero passed away on Sunday July 16, listening to the score of «The Quiet Man,» one of his all - time favorite films, with his wife, Suzanne Desrocher Romero, and daughter, Tina Romero at his side,» the statement said.

The awards made some questionable decisions when it came to recognizing this film, and among the most questionable, in my opinion, was a lack of recognition for the score by the great Alfred Newman, who hit some conventions and contrivances, but did what he did best by breaking down a lot of barriers for epic scoring sensibilities at the time to come up with refreshing and stellar compositions whose symphonic beauty is remarkable by its own right, and important in the selling of the sweep of this film.

The mood is also helped by an excellent score by David Holmes that taps into a 70's caper vibe while Soderbergh employs a whole host of stylistic, directorial flourishes; he cleverly plays with the time frame throughout the narrative with complex use of flashbacks and freeze frames and puts a fresh spin on film noir.

Only nine months passed from the time that Spielberg read Liz Hannah's first draft of the script, to the time that he integrated John Williams» score into the final cut of the film, but «The Post» doesn't feel so urgent because it was rushed into production — it was rushed into production because it feels so urgent.

I really miss John Barry, after his departure from Bond we had to make do with some adequate scores over several years even from David Arnold, then along came a new Bond in the form of Mr Craig and wow DA really found the formula for Bond and composed two truly magnificent scores if only he could have done Skyfall, that said lets give Thomas Newman a chance see the film with the score then listen to the score as stand alone then we can judge, one thing, I really wish just once they could use John Barry's brilliant 007 theme in a sequence just for old times sake and as a tribute to the man that gave Bond so much.

This time out the film is set in China, so the Middle Eastern inflections of the first score are gone, to be replaced by stuff about as Chinese as Klaus Badelt's The Promise, but like that score it's not hard to enjoy this sort of material as a kind of guilty pleasure.

At around 2 am (sorry, I didn't keep track of the time for this one like I usually do), we got our first break from his traditional giallo with Suspiria, a film that serves up the elaborate death scenes (and Goblin score!)

After terrible test scores and some unsuccessful reshoots, Morgan Creek took control of the cut, leading Sheridan to go to the DGA to remove his name from the film (there were some suggestions at the time that the «Alan Smithee» credit could have been revived)-- it's the most high profile recent example of a filmmaker disowning his own film.

Twilight Time's standard isolated score feature is offered exclusively on the extended cut of the film.

Full of dreamy city & coastal locations and gowns to make you long for the days when an elbow length glove and a touch of Dior were acceptable day wear, the film looks beautiful and the score, by long - time Paul Thomas Anderson collaborator Jonny Greenwood, is just lovely.

The second Blu - ray disc includes an in - depth look at the film with «A Filmmaking Journey» with Steven Spielberg, «Editing and Scoring» featuring Spielberg's long - time collaborators Michael Kahn and John Williams, «The Sounds of War Horse» about the sound design and «Through the Producer's Lens» which takes a look at the photographic journey of producer Kathleen Kennedy.

I wrote at the time that his music for Dawn of the Planet of the Apes — while a very fine film score — wasn't one of his most engaging albums, with its dark tone and great length; and while he uses that score as a springboard (and reprises some of its material), Giacchino takes War off in different directions and in doing so solves the problems that led to its predecessor being better within the film than without it.

Often times, the well - shot and well - constructed picture (which features some of the best cinematography of any film so far this year; the soundtrack and score is equally ace) just tries to say it all at once, posing questions about whether that grass is actually greener, or whether it grows verdant only after we've shat all over it.

Directed by Oscar ® winner Bill Condon based on the 1991 animated film, «Beauty and the Beast» is produced by Mandeville Films» David Hoberman and Todd Lieberman with eight - time Oscar - winning composer Alan Menken, who won two Academy Awards ® (Best Original Score and Best Song) for the 1991 animated film, providing the score, which will include new recordings of the original songs written by Menken and Howard Ashman, as well as several new songs written by Menken and three - time Oscar winner Tim Score and Best Song) for the 1991 animated film, providing the score, which will include new recordings of the original songs written by Menken and Howard Ashman, as well as several new songs written by Menken and three - time Oscar winner Tim score, which will include new recordings of the original songs written by Menken and Howard Ashman, as well as several new songs written by Menken and three - time Oscar winner Tim Rice.

The film, of course, is lathered with John Williams score, but it's unlike his usual stately period fanfare, taking on a distinctly African flavor and»90s sound at times.

There are several positives to this film, and with the casting of Christopher Plummer, Scott has substituted on the cinematic equivalent of Ole Gunnar Solskjaer scoring in «Fergie Time» to upset the odds and win.

It's done quite well at the box office though, and was one of three films scored by Trevor Rabin which all appear in the Box Office Top Ten in the same week, at the time of writing this review - quite a feat for the composer.

The criss - crossed film narrative is in a state of overuse, but writer - director James DeMonaco's droll, modestly stylish crime gewgaw «Staten Island» wrings a few suspenseful and comic pleasures out of a time - bending format that has served the likes of Quentin Tarantino («Pulp Fiction») and Sidney Lumet («Before the Devil Knows You're Dead») among scores of others.

Mostly very serious, with that unmistakable «golden age» film music sensibility that just about lived on in 1960, it's a very strong score now given the kind of release it deserves for the first time.

Speaking to Variety's chief film critic Scott Foundas, Mann discusses growing up in Chicago, becoming interested in crime stories, the visual ideas he had for the film, the nonfiction book he discarded but still credited, the influence of real criminals and past films (particularly his eye - opening time shooting The Jericho Mile in Folsom Prison), choosing Tangerine Dream to do the score (a decision he still second guesses), the film's writing (including basing characters on real crime figures), casting, explosive stunts, changes made from the shooting script, and the modernist narrative.

The score to one of the greatest horror films of all time has been newly «reimagined» for an upcoming vinyl release,...

After a very long time in development, Masters of the Universe has just scored a release date as Sony Pictures has set the film for December 18th, 2019.

Where Pleasantville entertainingly time - travelled back to the uptight 50s from a modern perspective, Haynes plays it as though his film is being released in the year it is set, 1957, aided by a marvellous bittersweet Elmer Bernstein score of the kind you don't hear any more.

On the latest Crew Call, the Long Island native and two - time Oscar nominee of The Hurt Locker and 3:10 to Yuma talks with us about his latest work as well as his early days at Yale Music, and how he decided to take the plunge into film scoring thanks to The Omen and Poltergeist composer Jerry Goldsmith.

But that's when I heard the very beautiful music of RACHEL PORTMAN for the first time, and rejoice that there's a living film composer able to craft thematic material that contributes so wonderfully to the scoring gestalt.

He was going through his most incredible period at the time of this film (Alien came in the same year as The Great Train Robbery and Star Trek: The Motion Picture) and this remains one of the most notable film scoring accomplishments.

Perhaps the last awards - season film that relied on music to this extent was The Artist, which walked away with both best original score and best picture; though The Shape of Water faces stiff competition, especially from first - time Oscar nominee Jonny Greenwood (for Phantom Thread) and perpetual nominee Hans Zimmer (for his experimental Dunkirk score), expect it to pull off the same trick (and underwater, at that).

An avowed Dodger's fan wearing a Brian Urlacher jersey, Tom's confused West Coast / Midwest sports allegiances are only the first of the film's scattershot staccato continuity errors — sharing time with the sort of broad slapstick pratfalls (foot and nose violence, mainly, though Kutcher does score with a fine impression of Chris Farley) that define the kind of film that lists «Kid in the Bathroom» in its cast credits.

With an excellent screenplay, perfect casting and a superlative theme song and score, it is not an overstatement to assert that Back to the Future is one of the finest films of all time.

Directed by Oscar ® winner Bill Condon from a screenplay by TBD based on the 1991 animated film, the film is produced by Mandeville Films» David Hoberman and Todd Lieberman with eight - time Oscar - winning composer Alan Menken, who won two Academy Awards ® (Best Original Score and Best Song) for the 1991 animated film, providing the score, which will include new recordings of the original songs written by Menken and Howard Ashman, as well as several new songs written by Menken and three - time Oscar winner Tim Score and Best Song) for the 1991 animated film, providing the score, which will include new recordings of the original songs written by Menken and Howard Ashman, as well as several new songs written by Menken and three - time Oscar winner Tim score, which will include new recordings of the original songs written by Menken and Howard Ashman, as well as several new songs written by Menken and three - time Oscar winner Tim Rice.

The story might have been copied and overplayed thousands of times since this film, Bourne Identity's attention to character detail and mystery puts it leagues away from the rest of them, even if you take away the points it scores for being the original amnesiac thriller.

Most will view it with a jaded eye because of his other works, but others will respect the daring (although over-the-top at times dialogue), the «purist» filming of the project in Ultra Panavision 70 (a format that hasn't been employed in some 50 years) and the respectful hiring of Ennio Morricone, the man whose most famous score for the iconic «The Good, the Bad and the Ugly» is now synonymous with the western.

It adds nothing to the film, where a good score could have added so much, and as an album is just one enormous waste of time.

John Williams, James Newton Howard, and most recently Steven Price have crafted some of the most memorable scores for sci - fi films of all - time.

It reminded me of being a young lad seeing Vincent Price's House on Haunted Hill for the first time in the way that the film mesmerized me from the get go and the score captures the atmospheric intensity to draw the viewer in and never let them go.

While it wasn't the first time he scored a sequel, 1971's Escape from the Planet of the Apes was the first time Jerry Goldsmith worked on the sequel to a film which contained one of his genuinely great scores.

It's such a wonderful score, and it's so good to be able to hear all of it for the first time away from the film - but on the other hand, the original album was exceptionally well - sequenced, balancing the action / adventure and romantic sections beautifully with each other.

The body of the score is generally a little lighter, with obvious influence at times coming from Alexandre Desplat (who was launched to film music fame when he scored another film set in the 17th century Netherlands about a woman in a portrait).

Usually, though, a Best Picture winner will only win Score if a sweep is afoot, and hardly ever does the rest of the time because in years when the Academy spreads the wealth, they seem to divide the films they like along the lines of tech, craft and major categories.

-- «Carrie» (1976): When this Brian De Palma horror film (from Stephen King's book) was released, it seemed very much of its time, with geeky»70s fashions, a screechy horror score and clunky special effects.

I liked the film's grainy cinematography, nervous editing and moody Clint Mansell score, and even though Tillman Jr. indulges in flashy visuals at times (I bet he's a fan of Tony Scott's «Man on Fire), «Faster» feels surprisingly grounded in general.

6:30 am — TCM — Roberta Apparently the studio still didn't trust Fred and Ginger to carry a film; this time they're second leads behind Irene Dunne and Randolph Scott, but at least Dunne and Scott are decent actors and Roberta has a fair bit of charm outside of Astaire and Rogers, due in no small part to a solid score by Jerome Kern and Otto Harbach.

2:00 am (11th)-- TCM — Roberta Apparently the studio still didn't trust Fred and Ginger to carry a film after their debut pairing as second leads in Flying Down to Rio; this time they're second leads behind Irene Dunne and Randolph Scott, but at least Dunne and Scott are decent actors and Roberta has a fair bit of charm outside of Astaire and Rogers, due in no small part to a solid score by Jerome Kern and Otto Harbach.

Deadpool 2 is the sort of movie where the heroes kill a guy — after spending the last act of the film saving that guy so one of the characters will learn a moral lesson — all in the hopes of scoring a quick laugh derived from the joys of knocking off religious zealots, while also using time travel during the mid-credits scene to erase a death that took place earlier in the film so as to avoid outraged howls from Internet folks about the wickedness of «fridging» tertiary female characters.

Using archival footage to tell the story, and accompanied by an originally composed score by Alex Somers,» Dawson City: Frozen Time», will depict a unique history of a Canadian gold rush town by chronicling the life cycle of a singular film collection through its exile, burial, rediscovery, and salvation — and through that collection, how a First Nation hunting camp was transformed and displaced.

Again, Columbia's followed the first DVD edition with a three - disc release, replicating most of the featurettes; this time the film runs much longer, and includes an isolated music track of Marco Beltrami's superb score.

Not long after the tragic death of the great James Horner in mid-2015, director Antoine Fuqua — whose Southpaw was one of the last films the composer completed work on — revealed that Horner had not only agreed to score his remake of The Magnificent Seven, he had actually already begun to write music for it based on the script (it was still being filmed at the time).

Product Description via RustBlade: «Rustblade presents Claudio Simonetti and his Goblin playing and reinterpreting the score of one of the most famous horror movies of all times to celebrate 40 years of the idolised film Dawn of the Dead directed by George Romero and produced by Dario Argento.