Cannes rejected it. The Oscars ignored it. But “Amélie” lives on, as everyone’s favorite crème-brulee-cracking, stone-skipping Montmartre mischief-maker and romantic go-between is back in theaters come Valentine’s Day, courtesy of Sony Pictures Classics.
“Amélie,” directed by Jean-Pierre Jeunet and written by the French filmmaker with Guillaume Laurant, remains one of the 21st-century arthouse’s most imaginative confections, the rare film perhaps more misunderstood now than it was when it came out in 2001. Make no mistake that “Amélie” was huge then. There was the box office, the awards, the infectious swells of composer Yann Tiersen’s music in the air (at least in my headphones), and then came the imitators. I remember in college a close friend had a poster of the film pinned to her dorm room wall, a bemused Audrey Tautou upright in bed flanked by framed pictures of an Elizabeth-collared dog and a white-feathered fowl, and...
“Amélie,” directed by Jean-Pierre Jeunet and written by the French filmmaker with Guillaume Laurant, remains one of the 21st-century arthouse’s most imaginative confections, the rare film perhaps more misunderstood now than it was when it came out in 2001. Make no mistake that “Amélie” was huge then. There was the box office, the awards, the infectious swells of composer Yann Tiersen’s music in the air (at least in my headphones), and then came the imitators. I remember in college a close friend had a poster of the film pinned to her dorm room wall, a bemused Audrey Tautou upright in bed flanked by framed pictures of an Elizabeth-collared dog and a white-feathered fowl, and...
- 2/1/2024
- by Ryan Lattanzio
- Indiewire
Giuseppe Tornatore’s romantic ode to the movies charmed America, convincing theater-goers that little Italian kids are the cutest in the world. Little Salvatore Cascio grows up in a projection booth under the life-tutelage of kindly Philippe Noiret. Arrow presents the theatrical version of this Best Foreign Picture Oscar winner in 4K Ultra HD. The (greatly) extended version is on a second Blu-ray — it plays like a different movie entirely.
Cinema Paradiso
4K Ultra HD + Blu-ray
Arrow Academy
1988 / Color / 1:85 widescreen / 174, 155, 124 min. / Nuovo cinema Paradiso / Street Date December 8, 2020 / 49.95
Starring: Philippe Noiret, Antonella Attili, Salvatore Cascio, Marco Leonardi, Jacques Perrin, Agnese Nano, Brigitte Fossey, Pupella Maggio, Leopoldo Trieste.
Cinematography: Blasco Giurato
Film Editor: Mario Morra
Original Music: Ennio Morricone, Andrea Morricone
Produced by Mino Barbera, Franco Cristaldi, Giovanna Romagnoli
Written and Directed by Giuseppe Tornatore
Every so often there comes along a European movie that so captures American audiences, one would...
Cinema Paradiso
4K Ultra HD + Blu-ray
Arrow Academy
1988 / Color / 1:85 widescreen / 174, 155, 124 min. / Nuovo cinema Paradiso / Street Date December 8, 2020 / 49.95
Starring: Philippe Noiret, Antonella Attili, Salvatore Cascio, Marco Leonardi, Jacques Perrin, Agnese Nano, Brigitte Fossey, Pupella Maggio, Leopoldo Trieste.
Cinematography: Blasco Giurato
Film Editor: Mario Morra
Original Music: Ennio Morricone, Andrea Morricone
Produced by Mino Barbera, Franco Cristaldi, Giovanna Romagnoli
Written and Directed by Giuseppe Tornatore
Every so often there comes along a European movie that so captures American audiences, one would...
- 1/12/2021
- by Glenn Erickson
- Trailers from Hell
Sophisticated chatter about the purpose of artistic expression ushers in Salvador Simó’s “Buñuel in the Labyrinth of the Turtles,” a genius and layered animated drama that functions as both a revelatory making-of for a seminal 1933 non-fiction film, and a surrealist biopic about the director behind it, who’s tormented by a yearning for his stern father’s approval.
Simó and co-writer Eligio R. Montero find Luis Buñuel (voiced by Jorge Usón), the expat Spanish auteur whose best-known films were made in France and Mexico, fresh off the success and controversy of the groundbreaking “Un Chien Andalou” and “L’Age d’Or,” both of which he co-wrote with the equally iconoclastic Salvador Dalí. Already regarded as a provocateur critical of the Catholic Church, Buñuel was branded persona non grata at home, which hindered his efforts to get another movie financed.
Asymmetrical in its facial features, the 2D animated rendering of...
Simó and co-writer Eligio R. Montero find Luis Buñuel (voiced by Jorge Usón), the expat Spanish auteur whose best-known films were made in France and Mexico, fresh off the success and controversy of the groundbreaking “Un Chien Andalou” and “L’Age d’Or,” both of which he co-wrote with the equally iconoclastic Salvador Dalí. Already regarded as a provocateur critical of the Catholic Church, Buñuel was branded persona non grata at home, which hindered his efforts to get another movie financed.
Asymmetrical in its facial features, the 2D animated rendering of...
- 8/16/2019
- by Carlos Aguilar
- The Wrap
Every week, IndieWire asks a select handful of film critics two questions and publishes the results on Monday.
This week’s question: The last few days have been extremely trying. And sometimes, when the world feels like it’s folding in on itself, people turn to the movies for a pick-me-up or some other kind of self-care.
To that end, we asked our panel of critics to select their favorite comfort film. Their choices run the gamut from Busby Berkeley musicals to “The Tree of Life.”
Mae Abdulbaki (@MaeAbdu), The Young Folks, Movies with Mae
When things seem at their worst or even when I’m having a bad month (or year), “13 Going on 30” is one of my go-to comfort films for many reasons. There’s the idea that no matter how bad things may seem and no matter the mistakes made, things can get better and sometimes...
This week’s question: The last few days have been extremely trying. And sometimes, when the world feels like it’s folding in on itself, people turn to the movies for a pick-me-up or some other kind of self-care.
To that end, we asked our panel of critics to select their favorite comfort film. Their choices run the gamut from Busby Berkeley musicals to “The Tree of Life.”
Mae Abdulbaki (@MaeAbdu), The Young Folks, Movies with Mae
When things seem at their worst or even when I’m having a bad month (or year), “13 Going on 30” is one of my go-to comfort films for many reasons. There’s the idea that no matter how bad things may seem and no matter the mistakes made, things can get better and sometimes...
- 10/1/2018
- by David Ehrlich
- Indiewire
Fifteen years after “Amélie” first charmed moviegoers around the world, the achievements of director Jean-Pierre Jeunet and writer Guillaume Laurant are still remarkable. A sumptuous modern love story, the film was filled with enough cross-city chasing and dramatic camera movements to make a viewer feel like they’d had a full exercise during the two-hour running time.
In contrast, “Amélie: A New Musical,” which saw its Los Angeles premiere last week, is a relative stroll through Paris that’s still colorful fun without quite the same degree of satisfaction. However, what this stage version lacks in drive, it supplants with a breezy, pared-down version of plot and atmosphere more in line with the tastes of a casual theatergoing American audience.
Craig Lucas’ book sticks fairly close to the film’s basic skeleton: Amélie Poulain, a comfortably single and romantic-at-heart café waitress, makes a fateful discovery in her apartment. Stumbling on...
In contrast, “Amélie: A New Musical,” which saw its Los Angeles premiere last week, is a relative stroll through Paris that’s still colorful fun without quite the same degree of satisfaction. However, what this stage version lacks in drive, it supplants with a breezy, pared-down version of plot and atmosphere more in line with the tastes of a casual theatergoing American audience.
Craig Lucas’ book sticks fairly close to the film’s basic skeleton: Amélie Poulain, a comfortably single and romantic-at-heart café waitress, makes a fateful discovery in her apartment. Stumbling on...
- 12/22/2016
- by Steve Greene
- Indiewire
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
This week’s question:
Last Friday saw the release of Garth Davis’ “Lion,” the musical score for which is the gorgeous result of a collaboration between two giants of the neo-classical movement, Dustin O’Halloran and Hauschka. It’s just the latest indication that we’re living in a fascinating, vibrant time for movie music, and December boasts a number of films that will only add more fuel to that fire. With that in mind, we asked our panel of critics to name their favorite film score of the 21st Century.
Tasha Robinson (@TashaRobinson), The Verge
There are some really striking contenders out there, topped by Susumu Hirasawa’s manic,...
This week’s question:
Last Friday saw the release of Garth Davis’ “Lion,” the musical score for which is the gorgeous result of a collaboration between two giants of the neo-classical movement, Dustin O’Halloran and Hauschka. It’s just the latest indication that we’re living in a fascinating, vibrant time for movie music, and December boasts a number of films that will only add more fuel to that fire. With that in mind, we asked our panel of critics to name their favorite film score of the 21st Century.
Tasha Robinson (@TashaRobinson), The Verge
There are some really striking contenders out there, topped by Susumu Hirasawa’s manic,...
- 11/28/2016
- by David Ehrlich
- Indiewire
If you still get butterflies at the thought of Audrey Tautou with tiny bangs, we bear good news. Jean-Pierre Jeunet's uber-whimsical film "Amélie" is on the road to becoming a Broadway musical -- with one glaring caveat. Yann Tiersen's iconic score will not accompany the romantic tale.
Dan Messé of indie group Hem was commissioned to adapt the film, along with playwright Craig Lucas and lyricist Nathan Tysen. Messé announced the news of the not-so-well-kept secret on Facebook. We're certainly interested to see what a folksy indie rocker who is self-admittedly "not a fan of modern musicals" will do with his stage-ready interpretation.
Our biggest concern thus far is obviously the score -- we shudder to think that Tiersen's fanciful, addictive music could be replaced with typical Broadway bravado. "It’s like one of the best movie scores there is. It’s one of the reasons why I love the film,...
Dan Messé of indie group Hem was commissioned to adapt the film, along with playwright Craig Lucas and lyricist Nathan Tysen. Messé announced the news of the not-so-well-kept secret on Facebook. We're certainly interested to see what a folksy indie rocker who is self-admittedly "not a fan of modern musicals" will do with his stage-ready interpretation.
Our biggest concern thus far is obviously the score -- we shudder to think that Tiersen's fanciful, addictive music could be replaced with typical Broadway bravado. "It’s like one of the best movie scores there is. It’s one of the reasons why I love the film,...
- 8/23/2013
- by Priscilla Frank
- Huffington Post
The film that made Audrey Tautou a worldwide star, 2001's "Amelie," is the latest film to get the Broadway treatment. Read More: Audrey Tautou On Playing a Repressed Housewife in 'Therese' and Why She Doesn't Crave the Hollywood Spotlight Dan Messe, the keyboardist and composer of Brooklyn indie band Hem, has been commissioned to adapt Jean-Pierre Jeunet's modern classic for the stage. Although new to musicals, Messe, and his fellow Hem musicians Gary Maurer and Steve Curtis composed the score and songs for the Public Theater's 2009 Shakespeare in the Park production of "Twelfth Night." Yann Tiersen, who composed the beloved, accordion-based score for the film will not be involved with the production. Messe told Paste Magazine that he's "not interested in doing Parisian music." The creative team includes Tony-nominated playwright Craig Lucas ("Prelude to a Kiss") and co-lyricist Nathan Tysen ("The Burnt Part Boys"). Playbill.com has reported that Pam MacKinnon,...
- 8/23/2013
- by Nigel M Smith
- Indiewire
Composer Dan Messé of indie band Hem is working on stage adaptation of whimsical 2001 French comedy
Amélie, the whimsical French film that received five Oscar nominations, is set to become a stage musical.
According to the Hollywood Reporter, composer Dan Messé of the indie band Hem announced on Facebook that he is working on a stage adaptation of Jean-Pierre Jeunet's 2001 film with an eye to its appearing on Broadway. However, no further details – such as a production timeline or even development workshops – have been announced.
"So not the best kept secret, but still I'm happy to announce that I've been commissioned to adapt the film Amélie for Broadway," Messé wrote. Playwright Craig Lucas, whose Prelude to a Kiss was nominated for both a Tony award and a Pulitzer prize, will write the book, with lyrics also contributed by Brooklyn-based songwriter Nathan Tysen. Pam MacKinnon, who picked up a best...
Amélie, the whimsical French film that received five Oscar nominations, is set to become a stage musical.
According to the Hollywood Reporter, composer Dan Messé of the indie band Hem announced on Facebook that he is working on a stage adaptation of Jean-Pierre Jeunet's 2001 film with an eye to its appearing on Broadway. However, no further details – such as a production timeline or even development workshops – have been announced.
"So not the best kept secret, but still I'm happy to announce that I've been commissioned to adapt the film Amélie for Broadway," Messé wrote. Playwright Craig Lucas, whose Prelude to a Kiss was nominated for both a Tony award and a Pulitzer prize, will write the book, with lyrics also contributed by Brooklyn-based songwriter Nathan Tysen. Pam MacKinnon, who picked up a best...
- 8/23/2013
- by Matt Trueman
- The Guardian - Film News
Jean-Pierre Jeunet's Amélie is favorite-film caliber; Yann Tiersen's Amélie score is favorite-score caliber. Why it took a dozen years to get a Broadway show into development is beyond us, but maybe it had something to do with the Tony-winning Broadway-ification of the heartwarming indie Euro-musical Once and the heartwarming already-perfect-but-then-adapted-perfectly-anyway Matilda. Dan Messé, co-founder of Brooklyn indie group Hem, is working with lyricist Nathan Tysen and Pulitzer-nominated playwright Craig Lucas on the stage show. Alas, Tiersen's phenomenal music is being left behind. "It’s like one of the best movie scores there is," Messé tells Paste. "It’s one of the reasons why I love the film. But, it’s not what I do. He’s a very different sort of composer than I am. And I’m not interested in doing Parisian music. I don’t think I’m even going to use accordion in my score.
- 8/23/2013
- by Zach Dionne
- Vulture
Cine Latino covers, well, all things relating to Latino culture and the movies, every Friday. Cuban-Guatemalan actor Oscar Isaac returns to the big screen in Madonna’s second directorial film project W.E. The two-tiered romantic drama focuses on the affair between King Edward VIII and American divorcée Wallis Simpson and a contemporary romance between a married woman and a Russian security guard. Isaac had to learn how to play the piano for the film. Here’s his two cents on the film and working with Madonna. “I had to learn to play the piano. Evgeni is supposed to be a concert pianist and there were these three very complicated Yann Tiersen pieces, so I spent about a month and a half working with piano teachers and learning how to play. I actually get to...
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- 2/4/2012
- by Elisa Osegueda
- Movies.com
★★★☆☆ This week sees the cinematic re-release (ahead of its Blu-ray release on 17 Oct) of Jean-Pierre Jeunet's modern day fairytale Amélie (2001), the film that launched the career of Audrey Tautou in the role of the eponymous Parisian waitress, Amélie Poulain, a Nutella-eyed innocent with puckish charm who was soon gracing the wall of many a student bedsit.
It was also the breakout film for Jeunet who, after a promising start with Delicatessen (1991) and The City of Lost Children (1995) had himself lost his way with the weakest entry in the already faltering Alien franchise, Alien: Resurrection (1997). The strong visual style and surrealist wit which had first made his name were back in abundance, with metamorphosing clouds and errant garden gnomes.
Amélie's opening hour is a wonderful compilation of crackpot stories that Jeunet had been collecting for much of his career for the purpose of the film. There is a sense of wild invention told with panache,...
It was also the breakout film for Jeunet who, after a promising start with Delicatessen (1991) and The City of Lost Children (1995) had himself lost his way with the weakest entry in the already faltering Alien franchise, Alien: Resurrection (1997). The strong visual style and surrealist wit which had first made his name were back in abundance, with metamorphosing clouds and errant garden gnomes.
Amélie's opening hour is a wonderful compilation of crackpot stories that Jeunet had been collecting for much of his career for the purpose of the film. There is a sense of wild invention told with panache,...
- 10/12/2011
- by Daniel Green
- CineVue
Manolis, from the Greek site Cinema News, reporting from Venice for The Film Experience.
Madonna and her W.E. cast © the wonderful photographer Fabrizio Spinetta who is sending us great shots for Tfe. Before today's report some thoughts about Madonna's W.E. which I had the privilege of seeing; there were so many people outside the cinema trying to find a ticket. It was difficult to turn your back to Madonna and her W.E. cast who were sitting on the Balcony behind the audience, but once the lights in the Sala Grande were off, you could focus on the openings shots of her film.
ManolisW.E.
The movie reminded me a lot of Julie and Julia. It has a similar structure but the bonding between the two Wallis’ (Cornish and Riseborough) is more vague and unfocused than that of Adams and Streep. And let’s face it, a Streep this film doesn't have.
Madonna and her W.E. cast © the wonderful photographer Fabrizio Spinetta who is sending us great shots for Tfe. Before today's report some thoughts about Madonna's W.E. which I had the privilege of seeing; there were so many people outside the cinema trying to find a ticket. It was difficult to turn your back to Madonna and her W.E. cast who were sitting on the Balcony behind the audience, but once the lights in the Sala Grande were off, you could focus on the openings shots of her film.
ManolisW.E.
The movie reminded me a lot of Julie and Julia. It has a similar structure but the bonding between the two Wallis’ (Cornish and Riseborough) is more vague and unfocused than that of Adams and Streep. And let’s face it, a Streep this film doesn't have.
- 9/2/2011
- by Manolis Dounias
- FilmExperience
We have four audio treats in store this week, kicking off with Heartless, a British psychological horror film starring Jim Sturgess. Its soundtrack is composed by David Julyan, who has previously worked on several Christopher Nolan films. The music is brooding and atmospheric but the only tracks that seem to build to anything are ‘Papa B’ and (inevitably) ‘Papa B Returns’, with ‘Run, Jamie, Run!’ adding some sense of momentum and bluster. The rest of the music largely consists of minimalist strings over bassy electronic wobbles, which is okay, but unremarkable.
Following Heartless is Ways to Live Forever, a film about two young boys with leukaemia who long to try all the various life experiences that they won’t live long enough to enjoy. Happy times. Cesar Benito’s score is chirpier than one might expect, but sounds like a Tesco Value Yann Tiersen effort, all quirky strings and plonky piano parts,...
Following Heartless is Ways to Live Forever, a film about two young boys with leukaemia who long to try all the various life experiences that they won’t live long enough to enjoy. Happy times. Cesar Benito’s score is chirpier than one might expect, but sounds like a Tesco Value Yann Tiersen effort, all quirky strings and plonky piano parts,...
- 7/5/2011
- by Jack Kirby
- Nerdly
Michael C. from Serious Film returning for a new season of Unsung Heroes and right off the bat I’m going to cheat a little. I went back and forth as to whether it was stretching to label this achievement “unsung” since I know many people who adore it. That said, I’ve never read a tribute to it, and it’s my column, right?
A memorable theme, an original song, a perfectly applied pop song. They stamp a film’s identity on the public consciousness like nothing else can. The Graduate is arguably one of the closest approaches to flawlessness in film history but would the genius of Mike Nichols be so readily apparent were it not for the contributions of Simon and Garfunkel? Would the image of Holly Golightly remain so iconic were it not inextricably wedded to the strains of "Moon River"?
I would go so far...
A memorable theme, an original song, a perfectly applied pop song. They stamp a film’s identity on the public consciousness like nothing else can. The Graduate is arguably one of the closest approaches to flawlessness in film history but would the genius of Mike Nichols be so readily apparent were it not for the contributions of Simon and Garfunkel? Would the image of Holly Golightly remain so iconic were it not inextricably wedded to the strains of "Moon River"?
I would go so far...
- 3/9/2011
- by Michael C.
- FilmExperience
**Read all the posts in our ‘Love Theatrically’ series here**
#9 – “AMÉLIE” (2001)
Directed by Jean Pierre Jeunet
Despite emerging as by far the weakest installment in the series “Alien Resurrection” does at least have one positive thing in its favour insofar as it led to director Jean Pierre Jeunet returning to France and creating the truly magical “Amélie”, a film so charming, so captivating and so irrepressibly exuberant that it should henceforth be considered prescribed viewing for anyone feeling a little disheartened with life.
With nary a poorly designed xenomorph hybrid in sight “Amélie” saw Jeunet unleash a wildly colourful magic box of cinematic surprises that coupled with Audrey Tautou’s beguiling lead performance (a role initially written for Emily Watson) resulted in quite possibly one of the most lovable, kind-hearted, sweet and affecting characters to emerge from modern cinema in many a year.
Employing a delightfully narrated montage technique first...
#9 – “AMÉLIE” (2001)
Directed by Jean Pierre Jeunet
Despite emerging as by far the weakest installment in the series “Alien Resurrection” does at least have one positive thing in its favour insofar as it led to director Jean Pierre Jeunet returning to France and creating the truly magical “Amélie”, a film so charming, so captivating and so irrepressibly exuberant that it should henceforth be considered prescribed viewing for anyone feeling a little disheartened with life.
With nary a poorly designed xenomorph hybrid in sight “Amélie” saw Jeunet unleash a wildly colourful magic box of cinematic surprises that coupled with Audrey Tautou’s beguiling lead performance (a role initially written for Emily Watson) resulted in quite possibly one of the most lovable, kind-hearted, sweet and affecting characters to emerge from modern cinema in many a year.
Employing a delightfully narrated montage technique first...
- 2/6/2011
- by Nick Turk
- HeyUGuys.co.uk
From the tiny isle of Ouessant off the coast of West Britanny comes "Dust Lane," the 6th studio album from the wildly multi-talented Yann Tiersen. You won't find too much sonic similarity between his accordion driven soundtrack for "Amelie" and this dark rock record -- his first in English -- though it is no less gorgeous or indeed, cinematic. Here, the classically trained musician explores loss (of both a friend and his mother during recording) with vintage analog synthesizers, electric guitars, mellotron, and piano.
"My plan was also to play with contrast between electric and quite dense parts and more sober and minimal quiet parts including piano and strings," Tiersen explains. So, voices join together in chorus, arcing violins and crashing drums build towards mighty fanfares -- but then, clouds part, squall recedes to silence, and mournful piano and strings guide you home."
The result of Tierson's island recordings (party...
"My plan was also to play with contrast between electric and quite dense parts and more sober and minimal quiet parts including piano and strings," Tiersen explains. So, voices join together in chorus, arcing violins and crashing drums build towards mighty fanfares -- but then, clouds part, squall recedes to silence, and mournful piano and strings guide you home."
The result of Tierson's island recordings (party...
- 10/7/2010
- by Brandon Kim
- ifc.com
Yann Tiersen is best known for a certain enchanting, accordion-heavy film score, and if you know his name it's likely because you own the "Amelie" Soundtrack, but director Jean-Pierre Jeunet didn't conjure the composer from thin air. Tiersen has been cutting his own records since 1995. His sixth, "Dust Lane," will even get a Us release for once, Oct. 12th on Anti.
Most of it was recorded on the island of Ouessant, a tiny little thing off the coast of West Britanny, with a last reported population of 859 souls. There resides the most powerful light house in Europe, the Creach'h, which greatly influenced Tiersen's 1998 record, Le Phare (The Light House).
I suspect that enormous erection still inspires Tiersen to this day. We have the first track to premiere from "Dust Lane" (though it is the last on the album) called, "Fuck Me."
Breton singer Gaelle Kerrien sings this duet with Tiersen,...
Most of it was recorded on the island of Ouessant, a tiny little thing off the coast of West Britanny, with a last reported population of 859 souls. There resides the most powerful light house in Europe, the Creach'h, which greatly influenced Tiersen's 1998 record, Le Phare (The Light House).
I suspect that enormous erection still inspires Tiersen to this day. We have the first track to premiere from "Dust Lane" (though it is the last on the album) called, "Fuck Me."
Breton singer Gaelle Kerrien sings this duet with Tiersen,...
- 9/21/2010
- by Brandon Kim
- ifc.com
Although hearing isn't the sense that moves quickest and deepest into our emotional memory, a favorite movie soundtrack can definitely dash almost as quickly to the center of your brain as a smell when it comes to recalling a certain scene, the memory of listening to it driving in the car, or smooching in the theater. A lot of the time, these are actual compilations of songs - Pump Up the Volume and Pretty in Pink are the first that spring to mind for me - but sometimes they're scores from an iconic composer.
David Lynch movies like Blue Velvet or Wild at Heart would still, for better or for worse, be David Lynch movies without Angelo Badalamenti's scores, but they'd be absolutely lacking, whether we knew it or not. Ennio Morricone is another unmistakable composer, most famously perhaps for his work on Sergio Leone's spaghetti westerns -...
David Lynch movies like Blue Velvet or Wild at Heart would still, for better or for worse, be David Lynch movies without Angelo Badalamenti's scores, but they'd be absolutely lacking, whether we knew it or not. Ennio Morricone is another unmistakable composer, most famously perhaps for his work on Sergio Leone's spaghetti westerns -...
- 2/24/2010
- by Jenni Miller
- Cinematical
Jose here with a take on the Foreign Language Film Oscar race.
The World is Big and Salvation Lurks Around the Corner (read my review here) not only has the coolest name in AMPAS' foreign film shortlist, it might also go ahead and get Bulgaria its very first Oscar win.
First we must consider that this whole post might be irrelevant come Tuesday, but for now indulge me while I explain why I think this movie might make it to the final five and snatch the damn thing.
The movie doesn't have even have a Stateside release date yet (except for a film festival in Florida) but I've read many articles that proclaim they'd nominate the film merely because of its awesome title. AMPAS of course can't do that, because the people who vote for this category need to have seen all the movies.
Fortunately for them, they won't have to do that much thinking,...
The World is Big and Salvation Lurks Around the Corner (read my review here) not only has the coolest name in AMPAS' foreign film shortlist, it might also go ahead and get Bulgaria its very first Oscar win.
First we must consider that this whole post might be irrelevant come Tuesday, but for now indulge me while I explain why I think this movie might make it to the final five and snatch the damn thing.
The movie doesn't have even have a Stateside release date yet (except for a film festival in Florida) but I've read many articles that proclaim they'd nominate the film merely because of its awesome title. AMPAS of course can't do that, because the people who vote for this category need to have seen all the movies.
Fortunately for them, they won't have to do that much thinking,...
- 2/1/2010
- by Jose
- FilmExperience
Pavement, Faith No More, Thom Yorke, Vampire Weekend also on the bill.
By James Montgomery
Jay-z
Photo: Raymond Boyd/ Michael Ochs Archives/ Getty Images
Coachella has always been seen as the least traditional of the big U.S. music festivals, and in 2010, they're definitely staying with that sentiment. On Tuesday (January 19), organizers revealed the lineup for this year's Coachella fest — set for April 15-18 at the Empire Polo Club in Indio, California — and the bill is topped by three acts you wouldn't necessarily see headlining fests here in the states (except when the Beastie Boys drop out at the last minute): Jay-z, Muse and Gorillaz.
Coachella 2010 Lineup
Joining them are the usual assortment of 'Chella acts, including the prerequisite reunited acts (Pavement, Faith No More), the icons (Thom Yorke, Devo, Sly and the Family Stone), the indie stalwarts (Vampire Weekend, Phoenix, Spoon, Mgmt), the hotly tipped buzz acts (Yeasayer,...
By James Montgomery
Jay-z
Photo: Raymond Boyd/ Michael Ochs Archives/ Getty Images
Coachella has always been seen as the least traditional of the big U.S. music festivals, and in 2010, they're definitely staying with that sentiment. On Tuesday (January 19), organizers revealed the lineup for this year's Coachella fest — set for April 15-18 at the Empire Polo Club in Indio, California — and the bill is topped by three acts you wouldn't necessarily see headlining fests here in the states (except when the Beastie Boys drop out at the last minute): Jay-z, Muse and Gorillaz.
Coachella 2010 Lineup
Joining them are the usual assortment of 'Chella acts, including the prerequisite reunited acts (Pavement, Faith No More), the icons (Thom Yorke, Devo, Sly and the Family Stone), the indie stalwarts (Vampire Weekend, Phoenix, Spoon, Mgmt), the hotly tipped buzz acts (Yeasayer,...
- 1/19/2010
- MTV Music News
A music video in support of Wale's latest single "Pretty Girls" has been filmed. The Mc shot it sans his collaborator Gucci Mane since the "The State vs. Radric Davis" rapper is currently serving his 12-month in jail.
Chris Robinson is the man recruited to work behind the lens. Despite the fact that the song is titled "Pretty Girls", there aren't any women captured in it. Instead, Wale who is wearing a bunch of chains is seen rapping with two buddies in front of green backdrop.
"Pretty Girls" comes from Wale's first studio album called "Attention: Deficit" and is released as its third single. The song reportedly samples "La Valse D'Amelie", a soundtrack of 2001 movie "Amelie" which is performed by French musician and composer Yann Tiersen.
Chris Robinson is the man recruited to work behind the lens. Despite the fact that the song is titled "Pretty Girls", there aren't any women captured in it. Instead, Wale who is wearing a bunch of chains is seen rapping with two buddies in front of green backdrop.
"Pretty Girls" comes from Wale's first studio album called "Attention: Deficit" and is released as its third single. The song reportedly samples "La Valse D'Amelie", a soundtrack of 2001 movie "Amelie" which is performed by French musician and composer Yann Tiersen.
- 1/9/2010
- by AceShowbiz.com
- Aceshowbiz
I don't believe I have ever reported the nominees for the International Film Music Critics Association before, but in the spirit of covering more award season news than is probably necessary I figured, "What the hell?" The nominees listed below make up the fifth annual International Film Music Critics Association Awards for Excellence with Wall-e receiving the most nominations including Film Score of the Year, Best Score for an Animated Film, Best Film Composition (for "Define Dancing") and Composer of the Year for Thomas Newman. The other big nominee is Danny Elfman who received the most individual nominations this year with seven: Composer of the Year; Film Score of the Year and Best Documentary Score for Standard Operating Procedure; Best Drama Score for Milk; Best Action/Adventure Score and Best Individual Cue for Wanted ("Success Montage"); and Best Fantasy/Science Fiction Score for Hellboy II: The Golden Army. The International...
- 1/17/2009
- by Brad Brevet
- Rope of Silicon
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