Season 3 of Star Trek: Picard not only reunited all of the Next Generation crew, but also gave them a fitting sendoff for which fans have been waiting since the 2002 film Star Trek: Nemesis. It wasn’t easy for anyone, including composer Stephen Barton.
Barton admits, however, that he painted himself, or composed himself rather, into a corner.
“We decided we were going to try to score all of it which meant writing seven hours of music,” Barton said during a panel for the CBS/Paramount+ series at Deadline’s Sound & Screen event. “I think about four hours in I was literally dead, absolutely. I was doing seven days weeks, 16-hour days, I hadn’t seen my family. It was absolutely brutal.”
Normally TV shows can reuse pre-existing tracks. Barton’s goal to compose an all-new score for Season 3 wore him down. He credits showrunner Terry Malalas with suggesting they...
Barton admits, however, that he painted himself, or composed himself rather, into a corner.
“We decided we were going to try to score all of it which meant writing seven hours of music,” Barton said during a panel for the CBS/Paramount+ series at Deadline’s Sound & Screen event. “I think about four hours in I was literally dead, absolutely. I was doing seven days weeks, 16-hour days, I hadn’t seen my family. It was absolutely brutal.”
Normally TV shows can reuse pre-existing tracks. Barton’s goal to compose an all-new score for Season 3 wore him down. He credits showrunner Terry Malalas with suggesting they...
- 5/11/2023
- by Fred Topel
- Deadline Film + TV
Twenty years ago, tween-girl cinema thrived. Hilary Duff, Lindsay Lohan, and Amanda Bynes kicked off the junior rom-com eras -- bringing their Disney and Nickelodeon fans along for the ride. Big-screen coming-of-age stories, family sagas, and whimsical made-for-television movies defined youth culture in 2003. Pop music became more accessible to children. Bright colors and Y2K fashion arrived in full force. Kids were paying attention to the media and products advertised to them.
As a person who turned nine in '03, I vividly remember this era of family films. They were hopeful, playful, and rife with young characters seeking adventures. I'll never forget when my sister and I saw our first movies on DVD instead of VHS: "The Lizzie McGuire Movie" and "What a Girl Wants." For millennial fans, Hilary Duff's Italian excursion has been on repeat as a literal soundtrack of our lives. Amanda Bynes' British battle of the debutantes sharpened our rebellious side.
As a person who turned nine in '03, I vividly remember this era of family films. They were hopeful, playful, and rife with young characters seeking adventures. I'll never forget when my sister and I saw our first movies on DVD instead of VHS: "The Lizzie McGuire Movie" and "What a Girl Wants." For millennial fans, Hilary Duff's Italian excursion has been on repeat as a literal soundtrack of our lives. Amanda Bynes' British battle of the debutantes sharpened our rebellious side.
- 1/27/2023
- by Allison McClain Merrill
- Slash Film
Movie and TV composers are in greater demand than ever for, surprisingly, new music for the concert hall.
For decades, concert commissions for film composers were few and far between. The increasing popularity of John Williams’ film music, and his visibility as conductor of the Boston Pops in the 1980s and ’90s, led to his writing a number of concert works, but Williams was, for the most part, the exception to the rule.
That is changing, some composers say, because orchestra managers are reaching the belated conclusion that film music communicates immediately to audiences, and the current trend of live-to-picture concerts of movie hits (everything from “Star Wars” to “Lord of the Rings”) is bringing in big bucks. As a result, adventurous programmers are seeking new works by established film composers in hopes that audiences have developed a thirst for similarly melodic, even exciting, music by names they recognize even...
For decades, concert commissions for film composers were few and far between. The increasing popularity of John Williams’ film music, and his visibility as conductor of the Boston Pops in the 1980s and ’90s, led to his writing a number of concert works, but Williams was, for the most part, the exception to the rule.
That is changing, some composers say, because orchestra managers are reaching the belated conclusion that film music communicates immediately to audiences, and the current trend of live-to-picture concerts of movie hits (everything from “Star Wars” to “Lord of the Rings”) is bringing in big bucks. As a result, adventurous programmers are seeking new works by established film composers in hopes that audiences have developed a thirst for similarly melodic, even exciting, music by names they recognize even...
- 3/23/2019
- by Jon Burlingame
- Variety Film + TV
The name Cliff Eidelman might not immediately jump out to some people, but some Star Trek fans will undoubtedly recognize him as the composer for Star Trek: The Undiscovered Country. We're learning today from Engadget the composer was in the running for Star Trek: Discovery, and since he didn't have a formalized contract preventing him from releasing his works after being overlooked, we're getting a listen of what the soundtrack could've been.
Take a listen via the Spotify embed below. I can't say anything tops the show's current theme for me, but there are some good tracks on here that I think would fit well in the show! ...
Take a listen via the Spotify embed below. I can't say anything tops the show's current theme for me, but there are some good tracks on here that I think would fit well in the show! ...
- 11/4/2017
- by Mick Joest
- GeekTyrant
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The final big screen outing for the original crew, we take a look back at Star Trek 6...
Despite my personal opinions, the reception to Star Trek V: The Final Frontier was nothing short of disastrous. A Razzie for Worst Picture, derision across the board and enough fallout to kill the career of producer Harve Bennett, and stop William Shatner from ever directing another movie. But Star Trek: The Next Generation fortunately found its feet not long after, and the franchise survived. But what of the ageing original cast? They were unwanted, unloved, too old, and too much of a financial risk. Gene Roddenberry, in rapidly failing health, was using what was left of his clout as Next Generation showrunner (even if the day to day running of the show was something of a power vacuum due to said failing health) to try and get his Starfleet Academy story made.
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The final big screen outing for the original crew, we take a look back at Star Trek 6...
Despite my personal opinions, the reception to Star Trek V: The Final Frontier was nothing short of disastrous. A Razzie for Worst Picture, derision across the board and enough fallout to kill the career of producer Harve Bennett, and stop William Shatner from ever directing another movie. But Star Trek: The Next Generation fortunately found its feet not long after, and the franchise survived. But what of the ageing original cast? They were unwanted, unloved, too old, and too much of a financial risk. Gene Roddenberry, in rapidly failing health, was using what was left of his clout as Next Generation showrunner (even if the day to day running of the show was something of a power vacuum due to said failing health) to try and get his Starfleet Academy story made.
- 4/28/2016
- Den of Geek
Okay, serious question: Should we call William Shatner a legend? An icon? Or just think of him as an actor, writer, director and producer whose connection to the "Star Trek" franchise will make sure that he's remembered for generations yet to come? Read More: The 13 TV Series Revivals We Least Expected to See Reborn That wasn't something Indiewire got a chance to ask Shatner about when we got him on the phone recently, because what Shatner wanted to talk about was the upcoming "Star Trek - The Ultimate Voyage 50th Anniversary Concert Tour," which brings the music composed by Gerald Fried, Jay Chattaway, Dennis McCarthy, Mark McKenzie, Cliff Eidelman, Ron Jones and Jerry Goldsmith to the United States and Canada as a live theatrical, orchestral experience. Below, Shatner explains what an actor's relationship to the soundtrack is like, how that changes when you're also directing the project and what makes...
- 2/9/2016
- by Liz Shannon Miller
- Indiewire
Editor Nick Bosworth (who also writes for JoBlo.com), created this lovely tribute to all the films of Gene Roddenberry’s epic sci-fi franchise. The montage which features clips from all twelve motion pictures, is cut to tracks by Jerry Goldsmith, Cliff Eidelman and Michael Giacchino. Bosworth writes, “Star Trek remains iconic in so many ways from the technology, ideas, adventure, legendary characters and so much more. Enjoy this special tribute in honor of those incredible efforts”.
- 5/20/2013
- by Ricky
- SoundOnSight
The Oscars are a little over two months away, and with so many fantastic films released throughout this year, the anticipation surrounding the announcement of the nominations next month is running on high.
So far, we’ve had the shortlists for the Best Animated Feature, the Best Visual Effects, and the Best Documentary categories.
Now the Academy has announced the list of 104 films that are eligible in the Best Original Score category, and it’s going to be very interesting to see what makes the final cut come nominations time next month.
I think Hans Zimmer’s score for The Dark Knight Rises is, hopefully, a lock, because it is amazing. I also loved James Horner’s score for The Amazing Spider-Man, but can’t decide whether or not I think it will earn a nomination.
Alexandre Desplat has three films in the running this year, with Argo, Rise of the Guardians,...
So far, we’ve had the shortlists for the Best Animated Feature, the Best Visual Effects, and the Best Documentary categories.
Now the Academy has announced the list of 104 films that are eligible in the Best Original Score category, and it’s going to be very interesting to see what makes the final cut come nominations time next month.
I think Hans Zimmer’s score for The Dark Knight Rises is, hopefully, a lock, because it is amazing. I also loved James Horner’s score for The Amazing Spider-Man, but can’t decide whether or not I think it will earn a nomination.
Alexandre Desplat has three films in the running this year, with Argo, Rise of the Guardians,...
- 12/11/2012
- by Kenji Lloyd
- HeyUGuys.co.uk
Indian composer A.R. Rahman is in the Oscar race once again for the original score at the 85thAcademy Awards. His composition for the film “”People Like Us” has found place in the long list of 104 composers vying for the nominations.
Rahman composed for the Alex Kurtzman directed “People Like Us” starring Chris Pine, Elizabeth Banks, Olivia Wilde, Jon Favreau and Michelle Pfeiffer.
Rahman won two Academy Awards for Best Original Music Score and Best Original Song at the 81st Academy Awards in 2009 for “Slumdog Millionaire”.
104 scores from eligible feature-length motion pictures released in 2012 are in contention for nominations in the Original Score category.
The 85th Academy Awards nominations will be announced on Thursday, January 10, 2013.
Academy Awards for outstanding film achievements of 2012 will be presented on February 24, 2013. The eligible scores along with their composers are listed below in alphabetical order by film title:
“Abraham Lincoln: Vampire Hunter,” Henry Jackman, composer “After the Wizard,...
Rahman composed for the Alex Kurtzman directed “People Like Us” starring Chris Pine, Elizabeth Banks, Olivia Wilde, Jon Favreau and Michelle Pfeiffer.
Rahman won two Academy Awards for Best Original Music Score and Best Original Song at the 81st Academy Awards in 2009 for “Slumdog Millionaire”.
104 scores from eligible feature-length motion pictures released in 2012 are in contention for nominations in the Original Score category.
The 85th Academy Awards nominations will be announced on Thursday, January 10, 2013.
Academy Awards for outstanding film achievements of 2012 will be presented on February 24, 2013. The eligible scores along with their composers are listed below in alphabetical order by film title:
“Abraham Lincoln: Vampire Hunter,” Henry Jackman, composer “After the Wizard,...
- 12/11/2012
- by NewsDesk
- DearCinema.com
One hundred four scores from eligible feature-length motion pictures released in 2012 are in contention for nominations in the Original Score category for the 85th Academy Awards, the Academy of Motion Picture Arts and Sciences announced today. As noted by various online Oscar pundits, most noticeably missing is Moonrise Kingdom. A Reminder List of works submitted in the Original Score category will be made available with a nominations ballot to all members of the Music Branch, who shall vote in the order of their preference for not more than five achievements. The five achievements receiving the highest number of votes will become the nominations for final voting for the award. Click Here for the complete rules.
In February, Ludovic Bource won the Oscar for Achievement in Music Written for Motion Pictures (Original Score) for The Artist at the 84th Academy Awards.
The eligible scores along with their composers are listed below...
In February, Ludovic Bource won the Oscar for Achievement in Music Written for Motion Pictures (Original Score) for The Artist at the 84th Academy Awards.
The eligible scores along with their composers are listed below...
- 12/11/2012
- by Michelle McCue
- WeAreMovieGeeks.com
As far as I'm concerned, the two most memorable scores of the year belong to Cloud Atlas and Beasts of the Southern Wild. That said, I made an egregious and unforgivable mistake when filling out my Critics' Choice nominations and forgot to include not one of them, but Both of them! Shame. I feel it. Now I have to hope my fellow Bfca members came through where I failed. However, we will discuss Critics' Choice nominations more on the upcoming episodes of the RopeofSilicon podcast, for now we're talking Oscar as the Academy has released a complete list of all 104 original scores competing for Best Original Score at the 2013 Oscars. I have not yet posted my predictions for Best Original Score and while I am making a fuss above concerning Cloud Atlas and Beasts of the Southern Wild, I think both of those stand a very strong chance at a nomination this year.
- 12/10/2012
- by Brad Brevet
- Rope of Silicon
One hundred four scores from eligible feature-length motion pictures released in 2012 are in contention for nominations in the Original Score category for the 85th Academy Awards®, the Academy of Motion Picture Arts and Sciences announced today. The eligible scores along with their composers are listed below in alphabetical order by film title: “Abraham Lincoln: Vampire Hunter,” Henry Jackman, composer “After the Wizard,” Stephen Main, composer “Alex Cross,” John Debney and Sebastian Morton, composers “The Amazing Spider-Man,” James Horner, composer “Anna Karenina,” Dario Marianelli, composer “Argo,” Alexandre Desplat, composer “Battleship,” Steve Jablonsky, composer “The Bay,” Marcelo Zarvos, composer “Beasts of the Southern Wild,” Dan Romer and Benh Zeitlin, composers “Being Flynn,” Damon Gough, composer “The Best Exotic Marigold Hotel,” Thomas Newman, composer “Big Miracle,” Cliff Eidelman, composer “Booker’s Place: A Mississippi Story,” David Cieri, composer “Brave,” Patrick Doyle, composer “Brooklyn Castle,” B. Satz, composer “Chasing Ice,” J. Ralph, composer “Chasing Mavericks,...
- 12/10/2012
- by aablog@hollywoodnews.com (Josh Abraham)
- Hollywoodnews.com
Cliff Eidelman has signed on to score the drama Everybody Loves Whales. The movie stars Drew Barrymore, John Krasinski, Kristen Bell, Dermot Mulroney, Tim Blake Nelson, Vinessa Shaw, Stephen Root and Ted Danson. The film tells the true story of a small-town news reporter and a Greenpeace volunteer who enlist the help of rival superpowers to save three majestic gray whales trapped under the ice of the Arctic Circle. The project is directed by Ken Kwapis who has worked with Eidelman numerous times, most recently on the 2009 romantic comedy hit He’s Just Not That Into You. The movie also marks the composer’s first scoring assignments since his last collaboration with Kwapis. Everybody Loves Whales is based on Tom Rose’s nonfiction book Freeing the Whales: How the Media Created the World’s Greatest Non-Event and is adapted for the screen by Jack Amiel and Michael Begler (The Prince and Me,...
- 5/30/2011
- by filmmusicreporter
- Film Music Reporter
Penka Kouneva was born in Bulgaria, but she's been living in the United States since 1990. During this time, she estabilished herself as one of the most reliable orchestrators in the business. She worked extensively with Patrick Williams and now she's one of the regular orchestrators of Cliff Eidelman, Alfons Conde and Steve Jablonsky. Apart from orchestrating, Penka also started a film scoring career which currently includes titles like Chupacabra Terror, The Third Nail and most recently Midnight Movie.
What could you tell us about your musical education?
My mother was a professor of music theory and analysis at the Bulgarian Conservatory of music. I went to a High School of Music, then to the Bulgarian Conservatory (with a degree in Theory). In 1990, I received Mary Duke Biddle Fellowship for Master's degree in composition at Duke.
I got Masters and Doctorate at Duke University where my teacher Stephen Jaffe was exceptonally supportive and encouraging.
What could you tell us about your musical education?
My mother was a professor of music theory and analysis at the Bulgarian Conservatory of music. I went to a High School of Music, then to the Bulgarian Conservatory (with a degree in Theory). In 1990, I received Mary Duke Biddle Fellowship for Master's degree in composition at Duke.
I got Masters and Doctorate at Duke University where my teacher Stephen Jaffe was exceptonally supportive and encouraging.
- 4/1/2009
- Daily Film Music Blog
"He's Just Not That Into You" world premiere event on Monday, February 2, has become a star-studded extravaganza. Held four days before the dramedy opens in U.S. theaters, the special screening night taking place at Grauman's Chinese Theater saw the streaming in of many Hollywood A-listers from the film's all-star cast to other celebrity guests.
Making an effort to come to the premiere were most of the film's cast ensemble, including Ben Affleck, Drew Barrymore, Ginnifer Goodwin, Jennifer Aniston, Jennifer Connelly, Scarlett Johansson, Bradley Cooper, Justin Long, Kevin Connolly and Kris Kristofferson. Dressed to impress for the occasion, Aniston, in particular, was seen coming to the event in a classic look with a black Burberry pantsuit.
Aside from all of those stars, composer Cliff Eidelman and the original book co-author Greg Behrendt have also attended the special event. Meanwhile, Jenna Fischer, Jimmy Fallon, Emmanuelle Chriqui, Justin Bruening, Daren Kagasoff and...
Making an effort to come to the premiere were most of the film's cast ensemble, including Ben Affleck, Drew Barrymore, Ginnifer Goodwin, Jennifer Aniston, Jennifer Connelly, Scarlett Johansson, Bradley Cooper, Justin Long, Kevin Connolly and Kris Kristofferson. Dressed to impress for the occasion, Aniston, in particular, was seen coming to the event in a classic look with a black Burberry pantsuit.
Aside from all of those stars, composer Cliff Eidelman and the original book co-author Greg Behrendt have also attended the special event. Meanwhile, Jenna Fischer, Jimmy Fallon, Emmanuelle Chriqui, Justin Bruening, Daren Kagasoff and...
- 2/3/2009
- by AceShowbiz.com
- Aceshowbiz
Movie Jungle has new video interviews with Jennifer Aniston, Bradley Cooper, Scarlett Johansson, Drew Barrymore, Greg Behrendt, Ginnifer Goodwin, Justin Long, Kevin Connolly, Ken Kwapis, Kris Kristofferson and Michael Beugg. There are also plenty new video clips available! The film opens on February 6th. Based on the wildly popularbestseller from "Sex and the City" scribes Greg Behrendt and Liz Tuccillo, "He's Just Not That Into You" tells the stories of a group of interconnected, Baltimore-based twenty- and thirtysomethings as they navigate their various relationships from the shallow end of the dating pool through the deep, murky waters of married life, trying to readthe signsof the opposite sex... and hoping to be the exceptions to the "no-exceptions" rule. The film boasts an all-star cast, including Academy Award® winner Ben Affleck as Neil; Jennifer Aniston as Beth; Drew Barrymore as Mary; Academy Award® winner Jennifer Connelly as Janine; Kevin Connolly as Conor...
- 1/31/2009
- Upcoming-Movies.com
Chicago – This 31-image slideshow contains the official press images for “He’s Just Not That Into You”, which was directed by Ken Kwapis and stars Jennifer Aniston, Ben Affleck, Drew Barrymore, Jennifer Connelly, Kevin Connolly, Bradley Cooper, Ginnifer Goodwin, Scarlett Johansson, Kris Kristofferson, and Justin Long. The New Line release opens on Friday, February 6th, 2009.
Synopsis: “Based on the wildly popular bestseller from “Sex and the City” scribes Greg Behrendt and Liz Tuccillo, “He’s Just Not That Into You” tells the stories of a group of interconnected, Baltimore-based twenty- and thirtysomethings as they navigate their various relationships from the shallow end of the dating pool through the deep, murky waters of married life, trying to read the signs of the opposite sex… and hoping to be the exceptions to the “no-exceptions” rule.
The film boasts an all-star cast, including Academy Award® winner Ben Affleck as Neil; Jennifer Aniston as...
Synopsis: “Based on the wildly popular bestseller from “Sex and the City” scribes Greg Behrendt and Liz Tuccillo, “He’s Just Not That Into You” tells the stories of a group of interconnected, Baltimore-based twenty- and thirtysomethings as they navigate their various relationships from the shallow end of the dating pool through the deep, murky waters of married life, trying to read the signs of the opposite sex… and hoping to be the exceptions to the “no-exceptions” rule.
The film boasts an all-star cast, including Academy Award® winner Ben Affleck as Neil; Jennifer Aniston as...
- 1/28/2009
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Movie Jungle has new images in from Warner Bros. Pictures' "He's Just Not That Into You," starring Ben Affleck, Jennifer Aniston, Drew Barrymore, Jennifer Connelly, Kevin Connolly, Bradley Cooper, Ginnifer Goodwin, Scarlett Johansson, Kris Kristofferson and Justin Long. The comedy drama airs on February 6th. "He's Just Not That Into You" is directed by Ken Kwapis from a screenplay by Abby Kohn & Marc Silverstein, based on the book by Greg Behrendt and Liz Tuccillo. Nancy Juvonen produced the film, with Drew Barrymore, Toby Emmerich, Michele Weiss and Michael Beugg serving as executive producers and Michael Disco and Gwenn Stroman co-producing. The behind-the-scenes creative team is led by director of photography John Bailey, production designer Gae Buckley, editor Cara Silverman, costume designer Shay Cunliffe, composer Cliff Eidelman, and Grammy Award-winning music supervisor Danny Bramson. Check out the images here. What's it about? Based on the wildly popular bestseller from "Sex...
- 1/15/2009
- Upcoming-Movies.com
A while ago I had a discussion with Mark Adler while I was researching the history of Kayo Hatta's Picture Bride, a beautiful emotional film about the titular institution which involved the shipping of hundreds of girls to Hawaii, where they had to live in unhappy matrimony. The picture was originally scored by Cliff Eidelman whose music was released by Varése Sarabande, but the movie eventually had music by Mark. It took a while, but he managed to put all his thoughts into this recollection and now with his kind permission, I'll post the full story, picking up from the moment he was selected for the project.
Director Wayne Wang recommended me to Miramax for the rescore of Picture Bride. My understanding was they were looking for someone with experience in writing film scores that had successfully integrated Asian musical influences. I had scored two films for Wayne--Eat A Bowl of Tea,...
Director Wayne Wang recommended me to Miramax for the rescore of Picture Bride. My understanding was they were looking for someone with experience in writing film scores that had successfully integrated Asian musical influences. I had scored two films for Wayne--Eat A Bowl of Tea,...
- 1/2/2009
- Daily Film Music Blog
PARK CITY -- In the first 15 minutes, "Open Window" lulls one into complacency with its idyllic images of sun-kissed Southern California and a young couple in the full flush of love, until you're suddenly and violently grabbed from behind, just like the story's main character, Izzy (Robin Tunney), when she's raped by a stranger in the sanctuary of her artist studio.
That moment and the vicious assault that follows it are the only surprises in this sometimes unbearably slow, uneven melodrama. It's sad to acknowledge, but the sensational and frightening rape scene, which is repeated in graphic flashbacks, could prove to be a draw. (Tunney is especially effective in these scenes).
Screenwriter-director Mia Goldman, a film editor making her feature directing debut, does achieve some elements of suspense and pathos in her story of a newly engaged couple whose relationship is dramatically transformed by the attack. Joel Edgerton plays her bland fiancee, Peter, and the fine character actor, Scott Wilson, turns in a solid performance as Peter's gruff, dead-beat Dad.
Cybill Shepherd shows up as Izzy's bossy mother from hell, which seems to be where the film industry often consigns actresses deemed passed their prime. Shepherd is over the top and not credible but neither are most of the characters in this film. The screenplay is riddled with complications and subplots about characters that fail to engage, go nowhere and bog down the narrative.
Denis Maloney's crisp cinematography captures the sunny seductiveness of Los Angeles as well as the shock of violence. Cliff Eidelman has assembled an earthy, jazz infused score. There's a decent film in here, but Goldman is undercut by a flawed script. The appearance of a kindly therapist played by Shirley Knight is a hackneyed plot device and a dead give-away that the script is in trouble. She also saddles her story with armchair psychology that is too pat and hard to buy.
That moment and the vicious assault that follows it are the only surprises in this sometimes unbearably slow, uneven melodrama. It's sad to acknowledge, but the sensational and frightening rape scene, which is repeated in graphic flashbacks, could prove to be a draw. (Tunney is especially effective in these scenes).
Screenwriter-director Mia Goldman, a film editor making her feature directing debut, does achieve some elements of suspense and pathos in her story of a newly engaged couple whose relationship is dramatically transformed by the attack. Joel Edgerton plays her bland fiancee, Peter, and the fine character actor, Scott Wilson, turns in a solid performance as Peter's gruff, dead-beat Dad.
Cybill Shepherd shows up as Izzy's bossy mother from hell, which seems to be where the film industry often consigns actresses deemed passed their prime. Shepherd is over the top and not credible but neither are most of the characters in this film. The screenplay is riddled with complications and subplots about characters that fail to engage, go nowhere and bog down the narrative.
Denis Maloney's crisp cinematography captures the sunny seductiveness of Los Angeles as well as the shock of violence. Cliff Eidelman has assembled an earthy, jazz infused score. There's a decent film in here, but Goldman is undercut by a flawed script. The appearance of a kindly therapist played by Shirley Knight is a hackneyed plot device and a dead give-away that the script is in trouble. She also saddles her story with armchair psychology that is too pat and hard to buy.
- 1/25/2006
- The Hollywood Reporter - Movie News
A Thomas K. Barad Prod.
PARK CITY -- In the first 15 minutes, "Open Window" lulls one into complacency with its idyllic images of sun-kissed Southern California and a young couple in the full flush of love, until you're suddenly and violently grabbed from behind, just like the story's main character, Izzy (Robin Tunney), when she's raped by a stranger in the sanctuary of her artist's studio.
That moment and the vicious assault that follows it are the only surprises in this sometimes unbearably slow, uneven melodrama that's not without a few powerful sequences.
If marketed properly, the film could have limited commercial theatrical release and a possible cable TV run. It's sad to acknowledge but the sensational and frightening rape scene, which is repeated in graphic flashbacks, could prove to be a draw. (Tunney is especially effective in these scenes).
Writer-director Mia Goldman, a film editor making her feature directing debut, does achieve some elements of suspense and pathos in her story of a newly engaged couple whose relationship is dramatically transformed by the attack. Joel Edgerton plays her bland fiancee, Peter, and the fine character actor, Scott Wilson, turns in a solid performance as Peter's gruff, deadbeat Dad.
Cybill Shepherd shows up as Izzy's bossy mother from hell, which seems to be where the film industry often consigns actresses deemed passed their prime. Shepherd is over the top and not credible but neither are most of the characters in this film.
The screenplay is riddled with complications and subplots about characters that fail to engage, go nowhere and bog down the narrative.
Denis Maloney's crisp cinematography captures the sunny seductiveness of L.A. as well as the shock of violence. Cliff Eidelman has assembled an earthy, jazz infused score.
There's decent film in here, but Goldman is undercut by a flawed script. The appearance of a kindly therapist played by Shirley Knight is a hackneyed plot device and a dead giveaway that the script is in trouble. She also saddles her story with armchair psychology that's too pat and hard to buy.
PARK CITY -- In the first 15 minutes, "Open Window" lulls one into complacency with its idyllic images of sun-kissed Southern California and a young couple in the full flush of love, until you're suddenly and violently grabbed from behind, just like the story's main character, Izzy (Robin Tunney), when she's raped by a stranger in the sanctuary of her artist's studio.
That moment and the vicious assault that follows it are the only surprises in this sometimes unbearably slow, uneven melodrama that's not without a few powerful sequences.
If marketed properly, the film could have limited commercial theatrical release and a possible cable TV run. It's sad to acknowledge but the sensational and frightening rape scene, which is repeated in graphic flashbacks, could prove to be a draw. (Tunney is especially effective in these scenes).
Writer-director Mia Goldman, a film editor making her feature directing debut, does achieve some elements of suspense and pathos in her story of a newly engaged couple whose relationship is dramatically transformed by the attack. Joel Edgerton plays her bland fiancee, Peter, and the fine character actor, Scott Wilson, turns in a solid performance as Peter's gruff, deadbeat Dad.
Cybill Shepherd shows up as Izzy's bossy mother from hell, which seems to be where the film industry often consigns actresses deemed passed their prime. Shepherd is over the top and not credible but neither are most of the characters in this film.
The screenplay is riddled with complications and subplots about characters that fail to engage, go nowhere and bog down the narrative.
Denis Maloney's crisp cinematography captures the sunny seductiveness of L.A. as well as the shock of violence. Cliff Eidelman has assembled an earthy, jazz infused score.
There's decent film in here, but Goldman is undercut by a flawed script. The appearance of a kindly therapist played by Shirley Knight is a hackneyed plot device and a dead giveaway that the script is in trouble. She also saddles her story with armchair psychology that's too pat and hard to buy.
- 1/22/2006
- The Hollywood Reporter - Movie News
PARK CITY, Utah -- Montana is known as the Big Sky state but, unfortunately, "Montana" will be known as a low-horizon film. It's a crime thriller of the hard-boiled variety, but, in execution and narrative, it's all runny yolk. Starring Kyra Sedgwick as a grizzled and grouchy mob lieutenant, "Montana" is all bluster and snarl, a generic muddle of pulp noir and shallow storytelling.
Receiving its world premiere at the Sundance Film Festival, "Montana" has been touted as an action film, helmed by a female director. If one considers drilling fat guys at point-blank range "action," then, indeed, this murky movie fits that bill. About the only "action" we recall in this heap is a guy falling out of a car trunk. Oh, lo, there are a couple fight scenes, which one could duplicate with two lessons at the local tae kwon do parlor. There's also some high-level cinematography, namely a batch of helicopter shots of big office buildings below. While these shots from on high add nothing to the film in terms of theme (it doesn't seem to have one), the shots of rooftops do greatly help the narration, serving as transitional cohesion between scenes that don't seem to be logically connected.
Basically, "Montana" has more of a situation than a plot: Claire Sedgwick) and her partner Nick (Stanley Tucci) toil for a crime organization and generally receive high marks around employee evaluation time -- they get to live and shoot more people, etc. However, their outfit has recently experienced a severe cash-flow problem -- somebody has stolen a big bank of their loot -- and Claire and Nick are made to feel the heat. Why, we're not quite sure. In any event, everybody's angry and everybody's ugly and everybody's stupid, which does not always make for interesting viewing. Unfortunately, director Jennifer Leitzes does not have a Tarantino flair for sliding in some odd '70s music to make the killings interesting, nor do the screenwriters (Erich Hoeber, Jon Hoeber) have any facility for off-the-wall verbalizations. So, we're left with a series of humdrum pluggings: These gut-shootings are typically preceded by grunting and snarling and then, for symmetry, followed up by more grunting and snarling. Such is the intricacy and sophistication of the scenario.
While there's a lot of bloodletting, there's not much coursing through the veins of the lead characters. As far as getting to what makes them tick, we're left with the fact that they tend to wear black. To her credit, Sedgwick's brassy performance seems fitted to the character, but her overall demeanor and physicality, particularly in her tough-girl scenes, are less than overwhelming.
A bag of unmarked bills to Stanley Tucci, though, for his natty performance. Tucci's idiosyncratic flourishes and strange garnishes are the few bright lights in this dim shoot-em-up. Praise also to John Ritter for his serpentine performance as an avaricious author who seems to favor the same suit of clothes. Technical contributions generally fit the bill. Praise to production designer Daniel Ross for the appropriately grungy look. Cliff Eidelman's score, with its strummy, contra-cadence plucks, is interesting and seems to be saying something -- perhaps it was written for another movie.
MONTANA
Producers: Sean Cooley, Zane W. Levitt,
Mark Yellen
Director: Jennifer Leitzes
Screenwriters: Erich Hoeber, Jon Hoeber
Executive producer: Cindy Cowan
Director of photography: Ken Kelsch
Production designer: Daniel Ross
Editor: Norman Buckley
Music: Cliff Eidelman
Color/stereo
Cast:
Claire: Kyra Sedgwick
Nick: Stanley Tucci
Kitty: Robin Tunney
Duncan: Philip Seymour Hoffman
The Boss: Robbie Coltrane
Dr. Wexler: John Ritter
Running time -- 96 minutes...
Receiving its world premiere at the Sundance Film Festival, "Montana" has been touted as an action film, helmed by a female director. If one considers drilling fat guys at point-blank range "action," then, indeed, this murky movie fits that bill. About the only "action" we recall in this heap is a guy falling out of a car trunk. Oh, lo, there are a couple fight scenes, which one could duplicate with two lessons at the local tae kwon do parlor. There's also some high-level cinematography, namely a batch of helicopter shots of big office buildings below. While these shots from on high add nothing to the film in terms of theme (it doesn't seem to have one), the shots of rooftops do greatly help the narration, serving as transitional cohesion between scenes that don't seem to be logically connected.
Basically, "Montana" has more of a situation than a plot: Claire Sedgwick) and her partner Nick (Stanley Tucci) toil for a crime organization and generally receive high marks around employee evaluation time -- they get to live and shoot more people, etc. However, their outfit has recently experienced a severe cash-flow problem -- somebody has stolen a big bank of their loot -- and Claire and Nick are made to feel the heat. Why, we're not quite sure. In any event, everybody's angry and everybody's ugly and everybody's stupid, which does not always make for interesting viewing. Unfortunately, director Jennifer Leitzes does not have a Tarantino flair for sliding in some odd '70s music to make the killings interesting, nor do the screenwriters (Erich Hoeber, Jon Hoeber) have any facility for off-the-wall verbalizations. So, we're left with a series of humdrum pluggings: These gut-shootings are typically preceded by grunting and snarling and then, for symmetry, followed up by more grunting and snarling. Such is the intricacy and sophistication of the scenario.
While there's a lot of bloodletting, there's not much coursing through the veins of the lead characters. As far as getting to what makes them tick, we're left with the fact that they tend to wear black. To her credit, Sedgwick's brassy performance seems fitted to the character, but her overall demeanor and physicality, particularly in her tough-girl scenes, are less than overwhelming.
A bag of unmarked bills to Stanley Tucci, though, for his natty performance. Tucci's idiosyncratic flourishes and strange garnishes are the few bright lights in this dim shoot-em-up. Praise also to John Ritter for his serpentine performance as an avaricious author who seems to favor the same suit of clothes. Technical contributions generally fit the bill. Praise to production designer Daniel Ross for the appropriately grungy look. Cliff Eidelman's score, with its strummy, contra-cadence plucks, is interesting and seems to be saying something -- perhaps it was written for another movie.
MONTANA
Producers: Sean Cooley, Zane W. Levitt,
Mark Yellen
Director: Jennifer Leitzes
Screenwriters: Erich Hoeber, Jon Hoeber
Executive producer: Cindy Cowan
Director of photography: Ken Kelsch
Production designer: Daniel Ross
Editor: Norman Buckley
Music: Cliff Eidelman
Color/stereo
Cast:
Claire: Kyra Sedgwick
Nick: Stanley Tucci
Kitty: Robin Tunney
Duncan: Philip Seymour Hoffman
The Boss: Robbie Coltrane
Dr. Wexler: John Ritter
Running time -- 96 minutes...
- 1/21/1998
- The Hollywood Reporter - Movie News
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