Mission Impossible is a movie franchise that feels as if it has been built around a theme song. Lalo Schifrin’s mesmeric music, written for the original TV series back in the 1960s, still provides the atmosphere and relentless narrative drive. As soon as you hear the faintest echo of it, you know that the drama is about to quicken and that Tom Cruise’s Ethan Hunt will respond, Pavlov reaction-style, by performing yet another death defying stunt.
- 7/29/2015
- The Independent - Film
If you're any bit of a horror or hard rock fan, Charlie Clouser has already been in your rotation. Think, when your heart races a little more to the strains of the macabre theme to "American Horror Story," or if it's altogether stopped during this first season of "Wayward Pines." If Nine Inch Nails' "Downward Spiral"; or Marilyn Manson's solid '90s albums; or Rob Zombie, White Zombie, or select albums from A Perfect Circle, Killing Joke, Helmet or Puscifer have been in your spinlist, then Clouser has likely already left a mark on you. And if you've ever survived a "Saw" series movie, then Clouser's compositions may still be floating through your veins. The writer-musician recently wrapped on scoring aforementioned Fox show starring Matt Dillon. Today, we exclusively premiere two of Clouser's score selections from the show -- "Climb Out" and "Leaking Oil" -- and discuss just...
- 6/4/2015
- by Katie Hasty
- Hitfix
In a new series ahead of this year’s Cannes film festival, our writers choose their favourite Palme d’Or winner. Today: Peter Bradshaw on Quentin Tarantino’s 1994 classic
I — say — God — Damn!
The intravenous jab of callous madness, black comedy and strange unwholesome euphoria in Quentin Tarantino’s Pulp Fiction hits me as hard now as when I first saw it 20 years ago. I sometimes think this is what it must have been like for record-buyers when Elvis Presley’s Heartbreak Hotel was released. It all first broke out at the Grand Théâtre Lumière at the Cannes film festival in 1994: Pulp Fiction was in competition, up against world cinema’s heavy-hitters: Nikita Mikhalkov’s Burnt By the Sun, Nanni Moretti’s Caro Diario, Edward Yang’s Confucian Confusion, and perhaps most prominently Krzysztof Kieslowski’s Three Colours Red — widely tipped for the Palme D’Or. The jury president...
I — say — God — Damn!
The intravenous jab of callous madness, black comedy and strange unwholesome euphoria in Quentin Tarantino’s Pulp Fiction hits me as hard now as when I first saw it 20 years ago. I sometimes think this is what it must have been like for record-buyers when Elvis Presley’s Heartbreak Hotel was released. It all first broke out at the Grand Théâtre Lumière at the Cannes film festival in 1994: Pulp Fiction was in competition, up against world cinema’s heavy-hitters: Nikita Mikhalkov’s Burnt By the Sun, Nanni Moretti’s Caro Diario, Edward Yang’s Confucian Confusion, and perhaps most prominently Krzysztof Kieslowski’s Three Colours Red — widely tipped for the Palme D’Or. The jury president...
- 4/13/2015
- by Peter Bradshaw
- The Guardian - Film News
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