Baz Luhrmann’s Elvis hit theaters last month and as far as biopics go, it was one for the ages. In fact, you can’t have a film about “The King” without going over-the-top theatrically, stylistically or musically. It’s one of the best films we’ve seen in a while. Moreover, it should continue to prove that going back to the theater is anything but mundane – it is an event! The film finds Luhrmann reuniting with long time-collaborator, Elliot Wheeler, to help bring Elvis Aaron Presley’s music to the modern masses. After developing a shorthand with Luhrmann on The Great Gatsby and The Get Down, Wheeler returns with a unique dual role as both composer and executive…
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Interview…Joseph Trapanese on Chamber Music, Cellos, and Choir in ‘Spiderhead’
One of the busiest film musicians out there has to be Joseph Trapanese. Let’s call him “Joe.” Joe is a composer. These days, Joe is happy. In fact, he’s very, very happy. And why wouldn’t he be? He’s one of the most sought-after magic makers and has a brilliant track record working on huge films with megastar directors. In Netflix’s Spiderhead, Joe reunites with director Joseph Kosinski (with whom he previously worked on TRON: Legacy, Oblivion, and Only The Brave). Aside from working closely with his good friend Joe K – we’ll call him “other Joe” – Mr. Trapanese had the unique opportunity to get away from the music that…
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Interview…Director Greg Björkman on Love, Loss, and Second Chances in ‘Press Play’
How many times have we wished we could replay a moment in our life to do over? Would it be for ourselves, or the benefit of someone else? What if it was as easy as pressing Play? In Greg Björkman‘s new film – his directorial debut – we get to find out how that might work. The film is propelled by some wonderful, impressive and effective acting from Clara Rugaard (I Am Mother) and Lewis Pullman (Top Gun: Maverick) and their chemistry really sells the story. We sat with Greg to talk about mix tapes, taking chances as a director, and trusting actors to deliver what they think is right…
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‘Toy Story’ in Concert with The Dallas Symphony Orchestra
In a symphony setting usually known to perform the works of Ravel, Stravinsky, and Bach, who would’ve thought seeing Toy Story in concert would be so enthralling? Well, film fans for one. But actually, what Randy Newman did for that very ambitious animated property (which Pixar debuted in 1995) has gone on to delight people all over the world. So, like the film itself, his music is a huge draw. People are likely more familiar with “You’ve Got a Friend In Me” and “I Will Go Sailing No More” than the score for the film, but through the Pixar in Concert series, symphony halls have been showcasing the tremendous effort…
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Interview…Jasha Klebe on the Freedom and Found Sounds of ‘Queer As Folk’
Jasha Klebe is a composer known for emotive melodies and impactful scores. Most notably, Jasha co-scored the BAFTA and Emmy nominated music of BBC’s Planet Earth II, alongside Hans Zimmer and Jacob Shea. He additionally provided music to the follow up series, Blue Planet II, as well as wrote the Emmy nominated music of National Geographic’s Challenger Disaster: Lost Tapes. Jasha also composed the score to Netflix’s 2015 Oscar-nominated documentary, Winter on Fire: Ukraine’s Fight For Freedom and National Geographic’s, Diana: In Her Own Words. Jasha began his musical career at the age of 5, singing at his Grandparents’ opera house, Cinnabar Theater, in Petaluma, CA. He studied classical piano…
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Podcast Review: Baz Luhrmann’s ‘Elvis’
Well now lawdy, lawdy, lawdy, Miss Clawdy! 2022 has been an such amazing year for film, and more importantly cinematic experiences…and we’re only at the halfway mark. We’ve seen the return of The Dark Knight, Top Gun and now The King of Rock ‘n’ Roll. It’s safe to say that going back to theaters is an event again (thank goodness!). Further, seeing Elvis on the big screen is one of the most exciting times you’ll have this year. It sure was for us. Baz Lurhamann‘s long-awaited biopic is headlined by Austin Butler who dons the titular icon’s shoes (and jumpsuit). He delivers the goods and then some! The King casts…
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G-S-T Review…’Jurassic World: Dominion’
It’s actually unfair of us to compare Jurassic World: Dominion (and the other parts of the dinosaur franchise revival) to what Steven Spielberg did back in 1993. It’s not that the director utilized a special effects frenzy to guarantee success. He actually made sure we believed dinosaurs were back. And then he terrified us when he made sure we believed they had been let loose. That’s a sense of wonder few films today have the ability to convey. Does that mean everything that would come after didn’t stand a chance? Up to a point, yes. He even experienced it himself with the The Lost World: Jurassic Park, but at least…
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G-S-T Review…’Top Gun: Maverick’
Top Gun: Maverick is a late arrival to the nostalgia-inducing game Hollywood has been playing for some years now. Deemed as “irresponsible” by Tom Cruise at some point of his life, the project was always clouded by the stance of making a new film about the characters, and not necessarily a sequel. Which is exactly what we got. Even with carbon-copied scenes. In all irony, Top Gun: Maverick is the very definition of a pure Top Gun sequel. However, it represents a concept development that feels complete above anything. It pushes for a character definition we didn’t know we needed, and its plot simply makes sense considering the first film…
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G-S-T Review…’Werewolves Within’
We need filmmakers like Josh Ruben. Not only because they actually make fine movies (we got tons of those), but because he bets on the distinct sides of an industry that heavily relies on formula. With only two feature films, he’s managed to convey an intelligent sense into genre filmmaking. With Scare Me he riskily set out to make a comedy film with horror touches. But in Werewolves Within the odds were definitely higher. Here is a film based on a video game, a horror comedy, and with a subgenre setting that’s far from popular or mainstream. The result is one of 2021’s best films. To filmmakers out there, pay attention. …
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Editorial: The Sacredness of Family Values in Netflix’s ‘Ozark’
5 years, 4 seasons, 44 episodes. And still some things remain left unsaid. In Ozark, a middle class family is forced to move to a remote place after a big secret is revealed. I won’t share much because some things are best if seen, but after 5 years of knowing the Byrdes, it’s hard to imagine if they had stuck together like they did, if their lives hadn’t been threatened at first. It’s not that they should welcome the horrible set of events. In a scene that’s on the season finale, the Byrdes survive a horrible accident without a scratch. This is an act of god. Note the lower case.…
