Category: FILM MUSIC
Francis Lai & Claude Lelouch I: A Man & a Woman
Reviews of Silva Screen’s new Francis Lai: The Essential Collection, plus Lai’s original A Man and a Woman album, in addition to a review of the film that began the Lai-Lelouch collaboration (via Warner Home Video), and its conceptually intriguing sequel, A Man and a Woman: 20 Years Later (now out via Warner Archives)…
New & Imminent Soundtrack Releases
Long tally of new and imminent soundtrack releases coming your way, including a new line of DVDs from Twilight Time (Screen Archives Entertainment) featuring previously unreleased films on DVD with isolated scores / film music goodies…
Soundtrack Awards & Reviews
BAFTA and Grammy Winners, plus soundtrack reviews of Murray Gold’s Doctor Who: Series 5 (Silva Screen), and from La-La Land Records’ Cliff Martinez’ Solaris, John Morris’ Haunted Honeymoon, and Christopher Young’s Haunted Summer…
Soundtrack Reviews
Soundtrack reviews for a pair of video games: Daniel Pemberton’s Kinect Adventures ! (1812 Recordings) and Jesper Kyd’s Assassin’s Creed (Ubisoft Music)…
Jeff Grace: Aspects of Fright
A previously unpublished interview with composer Jeff Grace, plus soundtrack reviews of Grace’s I Sell the Dead, and House of the Devil / I Can See You (all from MovieScore Media), plus a DVD review of I Can See You (Kino)…
Tales of Revolution
Just uploaded are reviews of Bruce Beresford’s Mao’s Last Dancer (Mongrel) plus Christopher Gordon’s soundtrack (Lakeshore Records), and the superb PBS documentary series China: A Century of Revolution (Zeitgeist)…
Action, Baby!
Reviews of Christopher Nolan’s Inception on Blu-ray (Warner Home Video) and Hans Zimmer score (Water Tower Music), plus action-related soundtracks: Clint Mansell’s Faster and John Powell’s Fair Game (both from Lakeshore), Guy Michelmore’s Jackboots on Whitehall (MovieScore Media), and Harry Gregson-Williams’ Unstoppable (La-La Land Records)…
Targeting the 80s Action Genre
The late, great Michael Kamen scored two iconic action films of the eighties – Lethal Weapon (1987), and Die Hard (1988) – and they were the genre’s definitive films, in fact, because they provided the template for filmmakers to imitate and composers to emulate for around a decade. Screenwriters tended to use ‘Die Hard on a plane/train/boat/chuck wagon/wobbly tricycle’ when pitching ideas to agents, and journalists liked to use the same phrases to describe what story, treatment or script the latest overpriced scribe had managed to sell for $1.5, $2.5, and $4.0 million to a sucker studio…
Merian C. Cooper I: Big Monkey, No. 1
Review of Warner Home Video’s shiny happy King Kong Blu-ray, and a quick nod to the deceased RKO Roxy Theatre…
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