It’s arguably too soon for “Four Hours at the Capitol,” though not because the January 6th insurrection is too taboo a topic. Rather, the 92-minute HBO documentary has little to say that hasn’t already been said over the last nine months, and little by way of factual or aesthetic detail that might illuminate new angles on the day’s harrowing events. There are a few intriguing exceptions, though these are not only fleeting, but also sandwiched between larger narrative slices that feel almost perspective-less in their approach to fresh wounds and extremely recent history.
A sense of stillness and normalcy permeates the introduction, as a police officer recounts the day’s unassuming start. However, given the film’s tight focus on a specific window of time — as evidenced by its title — things quickly go off the rails. Through a series of on-scene videos, and through first-hand interviews with officers,...
A sense of stillness and normalcy permeates the introduction, as a police officer recounts the day’s unassuming start. However, given the film’s tight focus on a specific window of time — as evidenced by its title — things quickly go off the rails. Through a series of on-scene videos, and through first-hand interviews with officers,...
- 10/20/2021
- by Siddhant Adlakha
- Indiewire
The Oscar race is already underway for categories devoted to below-the-line crafts — cinematography, costume design, editing, makeup and hairstyling, music, production design, sound and visual effects.
Voting began on Feb. 1 to determine a shortlist of possible nominees culled from all eligible contenders in the four craft categories that use a two-step process: score, original song, visual effects and makeup & hairstyling.
Voters have until Feb. 5 to narrow down all the contenders to a shortlist of semifinalists: 15 each in the Best Original Score and Best Original Song categories, 10 each in Best Makeup and Hairstyling and Best Visual Effects. (The shortlists will be announced on Feb. 9 ahead of the March 15 announcement of nominees.)
Here are our thoughts on what might advance in the four below-the-line categories that use shortlists.
“News of the World” (Universal Pictures)
Best Original Score
The Music Branch’s shortlists are typically short on surprises — and when those do happen,...
Voting began on Feb. 1 to determine a shortlist of possible nominees culled from all eligible contenders in the four craft categories that use a two-step process: score, original song, visual effects and makeup & hairstyling.
Voters have until Feb. 5 to narrow down all the contenders to a shortlist of semifinalists: 15 each in the Best Original Score and Best Original Song categories, 10 each in Best Makeup and Hairstyling and Best Visual Effects. (The shortlists will be announced on Feb. 9 ahead of the March 15 announcement of nominees.)
Here are our thoughts on what might advance in the four below-the-line categories that use shortlists.
“News of the World” (Universal Pictures)
Best Original Score
The Music Branch’s shortlists are typically short on surprises — and when those do happen,...
- 2/2/2021
- by Steve Pond
- The Wrap
The physical experience of the cinema in 2020 has been a fragmented stop and start scenario. Not being able to visit the cinema has been discouraging, but in putting this mix together I was reminded, pandemic aside, there have been new movies worth getting excited about and distinctive music and sounds to accompany them. Over the 1 hour, 39 minute run time this mix stops and starts in different mood zones, symmetrical to the year it represents. Between pieces of original score and soundtrack are voices and sounds, sometimes of hope, sometimes more sinister. Meandering in pace, this mix is a snapshot of feelings, as quickly as they come they move into different territory. We open with extracts from Garrett Bradely’s Time, these echoes of childhood and family swirl forward years as if inside a sonic time capsule. We hear voices weave in and out, “lots of things changed since the beginning of this tape.
- 12/28/2020
- MUBI
When Anya Taylor-Joy’s “Emma” sauntered on to our cinema screens earlier this year, it wasn’t the first time audiences experienced the story of Jane Austen’s meddling heroine. Gwyneth Paltrow previously embodied the role in a 1996 film version. That original incarnation had a decent reception at the Oscars, but the 2020 update is poised to perform even better.
The 2020 adaptation from Focus Features has one major factor boosting its chances. The film debuted in theaters on February 20, 2020. That was just a couple weeks before the coronavirus pandemic shuttered movie houses around the country. “Emma” was indeed the last film I saw in theaters, and I imagine the same is true for many industry professionals. In a chaotic year where films either had to postpone a theatrical run or head straight to video-on-demand, “Emma” will likely stick out in voters’ memories as one of their final movie theater experiences of...
The 2020 adaptation from Focus Features has one major factor boosting its chances. The film debuted in theaters on February 20, 2020. That was just a couple weeks before the coronavirus pandemic shuttered movie houses around the country. “Emma” was indeed the last film I saw in theaters, and I imagine the same is true for many industry professionals. In a chaotic year where films either had to postpone a theatrical run or head straight to video-on-demand, “Emma” will likely stick out in voters’ memories as one of their final movie theater experiences of...
- 11/27/2020
- by Sam Eckmann
- Gold Derby
In a year that presents the opportunity for new and diverse voices in the awards race, another one has been added to the mix for best original score. Variety has learned exclusively that neo-classical composer Amelia Warner will helm the music for John Patrick Shanley’s “Wild Mountain Thyme” starring Emily Blunt and Jamie Dornan.
Best known for her work on Haifaa al-Mansour’s “Mary Shelley” in 2018, Warner has dabbled both in music and acting. With roles in “Quills,” “Aeon Flux” and “Winter Passing,” this film marks just her third film composition. Warner was named the breakthrough composer of the year at the 2019 International Film Music Critics Awards.
While the awards season could present a record-breaking number of women nominated in categories like best picture and director, the race for best original score is very limited for female composers. Warner hopes to break through the male-heavy list of contenders that...
Best known for her work on Haifaa al-Mansour’s “Mary Shelley” in 2018, Warner has dabbled both in music and acting. With roles in “Quills,” “Aeon Flux” and “Winter Passing,” this film marks just her third film composition. Warner was named the breakthrough composer of the year at the 2019 International Film Music Critics Awards.
While the awards season could present a record-breaking number of women nominated in categories like best picture and director, the race for best original score is very limited for female composers. Warner hopes to break through the male-heavy list of contenders that...
- 10/22/2020
- by Clayton Davis
- Variety Film + TV
David Crow Feb 21, 2020
Here are details of the Emma. soundtrack, including some of the folk songs' origins, and Anya Taylor-Joy's thoughts on her singing scene.
The pianoforte, or the fortepiano as it is sometimes called, is an exceedingly delicate instrument to play. Comprised of just 49 keys (only a little more than half a modern piano’s), this forebear to all the keyboards that’ve come since appears like a literal blast out of the past—an 18th century sound hailing from a Florence still ruled by the Medicis. It is also a source for one of the best gags in the new Emma. adaptation starring Anya Taylor-Joy.
In one of the Jane Austen adaptation’s funniest scenes, Taylor-Joy offers an airy performance of an English folk tune while hunched melodically above her pianoforte. It’s actually an intentionally precious moment that sets up an even better one when her romantic rival,...
Here are details of the Emma. soundtrack, including some of the folk songs' origins, and Anya Taylor-Joy's thoughts on her singing scene.
The pianoforte, or the fortepiano as it is sometimes called, is an exceedingly delicate instrument to play. Comprised of just 49 keys (only a little more than half a modern piano’s), this forebear to all the keyboards that’ve come since appears like a literal blast out of the past—an 18th century sound hailing from a Florence still ruled by the Medicis. It is also a source for one of the best gags in the new Emma. adaptation starring Anya Taylor-Joy.
In one of the Jane Austen adaptation’s funniest scenes, Taylor-Joy offers an airy performance of an English folk tune while hunched melodically above her pianoforte. It’s actually an intentionally precious moment that sets up an even better one when her romantic rival,...
- 2/21/2020
- Den of Geek
That emphatic punctuation after the title — it’s technically called Emma., with a period — suggests that this gorgeously filmed, deliciously wicked, and sometimes wounding film version of Jane Austen’s literary classic may be the final word on the manipulative, matchmaking Miss Emma Woodhouse. Don’t count on it. Film versions of the writer’s fourth novel were practically a cottage industry in the mid-1990s: Gwyneth Paltrow played her on screen, Kate Beckinsale did the honors on TV and Alicia Silverstone immortally spun her into a Beverly Hills High School alpha in Clueless.
- 2/19/2020
- by Peter Travers
- Rollingstone.com
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