On paper, everything about Resistance suggests a surefire Academy Award juggernaut. After all, it’s a film that has multiple Oscar nominees in the cast, is set during World War II, centers on the plight of European Jews against the Nazis, and is a biopic of a famous person in the arts. Start carving the statue now, right? Well, not so fast. While Resistance is worthy of a recommendation, it’s mostly a decent picture elevated by a really strong performance by Jesse Eisenberg. Hitting VOD tomorrow, it’s a would be prestige player that can scratch the itch for classy cinema during an otherwise rough (for so many reasons) late March. The movie is a biopic and historical drama, looking at a pivotal time in the early life of Marcel Marceau (Eisenberg), after a prologue (as well as a bookend during the climax) with General George S. Patton (Ed Harris...
- 3/26/2020
- by Joey Magidson
- Hollywoodnews.com
At the time of his death in 2007, Marcel Marceau was the world’s most famous mime. But in 1938-’39, when World War II rescue drama “Resistance” takes place, Jewish-born Marcel Mangel was just 15 years old and had not yet adopted his stage name, much less the stage. As it happens, this would be the most exciting chapter of his life — and one about which the tight-lipped performer seldom spoke — making for a fresh entry point to an otherwise familiar if ever relevant subject.
Drawn from research and firsthand interviews with Marceau’s cousin, Jewish Boy Scouts leader Georges Loinger, the historical thriller tells of Marceau’s heroic efforts to save hundreds of orphans from the Holocaust. It’s an ambitious project for “Secuestro Express” director Jonathan Jakubowicz, and his approach feels more in line with Roberto Benigni’s “Life Is Beautiful” — whose clownish protagonist sought to distract his son from...
Drawn from research and firsthand interviews with Marceau’s cousin, Jewish Boy Scouts leader Georges Loinger, the historical thriller tells of Marceau’s heroic efforts to save hundreds of orphans from the Holocaust. It’s an ambitious project for “Secuestro Express” director Jonathan Jakubowicz, and his approach feels more in line with Roberto Benigni’s “Life Is Beautiful” — whose clownish protagonist sought to distract his son from...
- 3/9/2020
- by Peter Debruge
- Variety Film + TV
A total of 145 scores were recently announced as being eligible for this year’s Academy Award, with everything from perceived frontrunner “La La Land” (Justin Hurwitz) and “Jackie” (Mica Levi) to outliers like “Sausage Party” and “Elle.” The final five will be nominated on January 24. In the meantime, avail yourself of this Spotify playlist featuring selections from 110 of the eligible scores — as well as the full list of every eligible score.
Read More: Oscar Best Score Contenders: The Inside Story of Creating 5 Diverse Frontrunners
Read More: Oscars 2017: Listen to 70 Songs Eligible for This Year’s Academy Award
The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,...
Read More: Oscar Best Score Contenders: The Inside Story of Creating 5 Diverse Frontrunners
Read More: Oscars 2017: Listen to 70 Songs Eligible for This Year’s Academy Award
The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,...
- 1/3/2017
- by Michael Nordine
- Indiewire
The Academy of Motion Picture Arts and Sciences today announced that 145 scores from eligible feature-length motion pictures released in 2016 are in contention for nominations in the Original Score category for the 89th Academy Awards.
The eligible scores along with their composers are listed below, in alphabetical order by film title:
“The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,” Silvia Leonetti, composer
“Assassin’s Creed,” Jed Kurzel, composer
“Autumn Lights,” Hugi Gudmundsson and Hjörtur Ingvi Jóhannsson, composers
“The Bfg,” John Williams, composer
“Believe,” Michael Reola, composer
“Ben-Hur,” Marco Beltrami and Buck Sanders, composers
“Bilal,” Atli Ӧrvarsson, composer
“Billy Lynn’s Long Halftime Walk,” Mychael Danna and Jeff Danna,...
The eligible scores along with their composers are listed below, in alphabetical order by film title:
“The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,” Silvia Leonetti, composer
“Assassin’s Creed,” Jed Kurzel, composer
“Autumn Lights,” Hugi Gudmundsson and Hjörtur Ingvi Jóhannsson, composers
“The Bfg,” John Williams, composer
“Believe,” Michael Reola, composer
“Ben-Hur,” Marco Beltrami and Buck Sanders, composers
“Bilal,” Atli Ӧrvarsson, composer
“Billy Lynn’s Long Halftime Walk,” Mychael Danna and Jeff Danna,...
- 12/14/2016
- by Melissa Thompson
- WeAreMovieGeeks.com
The Academy of Motion Picture Arts and Sciences (AMPAS) has announced the 145 scores eligible in the Best Original Score category, includeing work from “Jackie” and “La La Land.” The latter film, a musical directed by “Whiplash” helmer Damien Chazelle, picked up the Los Angeles Film Critics Association’s award for Best Music earlier this month; “Jackie” was the category’s runner-up. Notably absent, meanwhile, are “Arrival” (which just landed a Golden Globe nod), “Manchester by the Sea” and “Silence.”
Read: ‘La La Land’: Emma Stone and Ryan Gosling’s ‘City of Stars’ Duet Will Sweep You Off Your Feet – Listen
Justin Hurwitz composed and orchestrated the “La La Land” score, while “Jackie” marks “Under the Skin” composer Mica Levi’s second silver-screen effort. Decades after becoming one of the world’s most renowned film composers, Ennio Morricone won last year’s Oscar for his work on Quentin Tarantino’s “The Hateful Eight.
Read: ‘La La Land’: Emma Stone and Ryan Gosling’s ‘City of Stars’ Duet Will Sweep You Off Your Feet – Listen
Justin Hurwitz composed and orchestrated the “La La Land” score, while “Jackie” marks “Under the Skin” composer Mica Levi’s second silver-screen effort. Decades after becoming one of the world’s most renowned film composers, Ennio Morricone won last year’s Oscar for his work on Quentin Tarantino’s “The Hateful Eight.
- 12/14/2016
- by Michael Nordine
- Indiewire
The upcoming Will Smith drama Seven Pounds, co-starring Rosario Dawson and Woody Harrelson, gets an original score composed by Angelo Milli. His previous credits include 2006 independent thriller Unknown and the recent acclaimed drama Paraiso Travel. Produced by Columbia Pictures, Seven Pounds tells the story of a man "who will change the lives of seven strangers" according to the plot official summary. Gabriele Muccino, who directed Smith in The Pursuit of Happyness, is helming the project for release in December.Brought to you by Upcoming Film Scores (http://upcomingfilmscores.blogspot.com).
- 7/14/2008
- by noreply@blogger.com (Mikael Carlsson)
- MovieScore Magazine
San Sebastian International Film Festival
SAN SEBASTIAN, Spain -- This first feature by Andres Baiz, representing Colombia in the Best Foreign Language Oscar derby, purports to explore the so-called Pozzetto Massacre in Colombia in which when a former Vietnam veteran killed 29 people in unexplained circumstances. The U.S. army vet went berserk with a gun in a crowded restaurant in 1986 after writing a literary criticism of "The Strange Case of Dr, Jekyll and Mr Hyde" by Robert Lewis Stevenson. No one knows why.
While the movie itself is a well-made crime drama that packs a punch, Baiz fails to coherently link the killer's case with questions about the fatal urge of people's deepest desires. Indeed the filmmaker leaves himself open to charges of exploitation.
Satan has good boxoffice potential in Latin America and other Spanish-speaking markets. It's lack of subtlety and obscure subject matter may limit its potential elsewhere.
The movie examines several stories: A priest who struggles with his secret lust for his housekeeper; a woman who lures wealthy businessmen into the hands of robbers; and the Vietnam vet Eliseo (Damian Alcazar), who harbors desires for his English student. These three stories appear unrelated until right at the end when all main characters find themselves in the same restaurant just as Eliseo starts blasting. Even then their meeting feels forced.
The film is spiced with extreme violence that bears seemingly little connection to the plot. A rape is played for maximum impact and minimum relevancy. If the revenge by Paola (Marcela Mar) against her rapists is meant to show how she gives in to her a base instinct, it is not clear. Similarly, when the priest attacks a tramp, it seems a simple shock tactic from the director.
If Baiz wants the audience to meditate on how man is tempted to sin, this Faustian question seems at odds in a film that never gives an audience time to ponder such matters. He seems keen to pack so much extreme violence and sex as to give his audience no time to draw a breath, much less ponder a deeper meaning.
Baiz does know how to put together a slick product. Though the film's three stories appear to have little connection, he slips from one to the other with ease. Mauricio Vidal's photography is excellent. Opening shots of the market in bustling downtown Bogota are stark and in vivid colors. A haunting score by Angelo Milli lingers in the mind long after the credit crawl.
SATAN
Rionegro Producciones D.F (Mexico) with the Little Film Company
Credits:
Writer/director: Andres Baiz
Based on the novel by: Mario Mendoza
Director of photography: Mauricio Vidal
Production design: Jual Carlos Acevedo
Music: Angelo Milli
Costume designer
Luz Helena Cardenas
Editor: Alberto del Toro
Cast:
Eliseo: Damian Alcazar
Blanca: Teresa Gutierrez
Valeria: Patricia Castaneda
Irene: Isabel Gaona
Tendero: Alvaro Garcia
Taxista: Hector Garcia
Natalia: Martina Garcia
Paola: Marcela Mar
Padre Ernesto: Blas Jaramillo
Pablo: Andres Parra
Alicia: Marcela Valencia
Alberto: Diego Vasquez
Beatriz: Vicky Hernandez
Running time -- 95 minutes
No MPAA rating...
SAN SEBASTIAN, Spain -- This first feature by Andres Baiz, representing Colombia in the Best Foreign Language Oscar derby, purports to explore the so-called Pozzetto Massacre in Colombia in which when a former Vietnam veteran killed 29 people in unexplained circumstances. The U.S. army vet went berserk with a gun in a crowded restaurant in 1986 after writing a literary criticism of "The Strange Case of Dr, Jekyll and Mr Hyde" by Robert Lewis Stevenson. No one knows why.
While the movie itself is a well-made crime drama that packs a punch, Baiz fails to coherently link the killer's case with questions about the fatal urge of people's deepest desires. Indeed the filmmaker leaves himself open to charges of exploitation.
Satan has good boxoffice potential in Latin America and other Spanish-speaking markets. It's lack of subtlety and obscure subject matter may limit its potential elsewhere.
The movie examines several stories: A priest who struggles with his secret lust for his housekeeper; a woman who lures wealthy businessmen into the hands of robbers; and the Vietnam vet Eliseo (Damian Alcazar), who harbors desires for his English student. These three stories appear unrelated until right at the end when all main characters find themselves in the same restaurant just as Eliseo starts blasting. Even then their meeting feels forced.
The film is spiced with extreme violence that bears seemingly little connection to the plot. A rape is played for maximum impact and minimum relevancy. If the revenge by Paola (Marcela Mar) against her rapists is meant to show how she gives in to her a base instinct, it is not clear. Similarly, when the priest attacks a tramp, it seems a simple shock tactic from the director.
If Baiz wants the audience to meditate on how man is tempted to sin, this Faustian question seems at odds in a film that never gives an audience time to ponder such matters. He seems keen to pack so much extreme violence and sex as to give his audience no time to draw a breath, much less ponder a deeper meaning.
Baiz does know how to put together a slick product. Though the film's three stories appear to have little connection, he slips from one to the other with ease. Mauricio Vidal's photography is excellent. Opening shots of the market in bustling downtown Bogota are stark and in vivid colors. A haunting score by Angelo Milli lingers in the mind long after the credit crawl.
SATAN
Rionegro Producciones D.F (Mexico) with the Little Film Company
Credits:
Writer/director: Andres Baiz
Based on the novel by: Mario Mendoza
Director of photography: Mauricio Vidal
Production design: Jual Carlos Acevedo
Music: Angelo Milli
Costume designer
Luz Helena Cardenas
Editor: Alberto del Toro
Cast:
Eliseo: Damian Alcazar
Blanca: Teresa Gutierrez
Valeria: Patricia Castaneda
Irene: Isabel Gaona
Tendero: Alvaro Garcia
Taxista: Hector Garcia
Natalia: Martina Garcia
Paola: Marcela Mar
Padre Ernesto: Blas Jaramillo
Pablo: Andres Parra
Alicia: Marcela Valencia
Alberto: Diego Vasquez
Beatriz: Vicky Hernandez
Running time -- 95 minutes
No MPAA rating...
- 12/12/2007
- The Hollywood Reporter - Movie News
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