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By midlandsmovies, May 2 2019 12:00AM



Vox Lux (2019) Dir. Brady Corbet


Opening with a shocking scene of a school shooting that has to be seen to be believed, Brady Corbet’s new film Vox Lux tackles the pop music industry, crime, terrorism and the American dream in a film stuffed to the brim with ideas.


Too stuffed? Well, perhaps. We open in 1999 where sisters Celeste (Raffey Cassidy) and Ellie (Stacy Martin) survive the massacre but during the memorial, Celeste showcases a poignant song about the incident which pushes her towards stardom in the USA. And she is soon head-hunted by a music mogul (a terrifically gruff Jude Law) and rises to fame in the industry.


Raffey Cassidy is a great lead and one of her most-famous scenes to date is from her previous outing in The Killing of a Sacred Deer where she delivers a darkly honest performance of Ellie Goulding’s “Burn”. Here she channels a similar tone and is one of many exciting aspects from the film’s first half. The striking school opening combined with the entire film credits at the start provides a violently dynamic beginning before the director throws in some home-video style footage of Raffey and her entourage on tour in Stockholm.


There is a lot of intensity and energy in its opening which is slightly at odds with its Willem Defoe narration and chapter titles (“Genesis”) which feel like a student facsimile of a cliché even Lars Von Trier would think twice about. Act 2 gets worse with the shockingly titled and awful “Re-genesis”. Quite.


However, as the young Celeste moves from tours, studio recording and on to videos the film is interspersed with iconic imagery reflecting media coverage of worldwide events and their effects. First is a terrorist beach atrocity featuring more guns and death as well as images of the World Trade Centre towers and then later the Freedom Tower.


And then the film takes a sharp turn. We jump to the modern day and Celeste is now played by Natalie Portman. Put through the mill of the music industry she now has a history of drink, drugs and more. Portman veers from her subdued and excellent performance in Jackie to a wayward pop-star jaded by the destructive capabilities of fame and money.


Celeste is now older, tiresome and somewhat of a cliché in this second half and unfortunately this is reflected in the film’s delivery too. Gone is the potency of Raffey’s rise to fame and in come some broad swipes at Western values, celebrity culture and the trappings of wealth. And for some unearthly reason – serving only to confuse - Raffey Cassidy is now playing Portman’s daughter. And much like most superhero films, learning the ropes is often a far more interesting story than when the hero is established and the same goes here.


As a musical drama, another problem is simply my personal taste in the music. Original songs by current pop star Sia are incorporated – although the 1999 music video is highly anachronistic with pitch-shifted vocals definitely not from that era – but I didn’t care much for its Bohemian Rhapsody-like 15-minute stage show ending.


In conclusion, and sounding far too much like a football pundit, Vox Lux is the epitome of a film of two halves. Its second half looking at how the music industry corrupts, Portman’s selfish alcoholic and extended concert finale just removed all the momentum the first half so successfully delivers. No doubt those with more than a passing interest in modern pop will also be moved by the musical hits more so than myself. Certainly containing huge amounts of filmmaking dexterity and Raffey Cassidy’s performance certainly should have taken centre stage, Vox Lux ultimately doesn’t so much as burn out as it does fade away.


★★★


Michael Sales


By midlandsmovies, Apr 2 2019 05:33PM



Midlands Review - The Music Box


2018


Directed by Hendrik Harms


The predominant feeling that I was left with after viewing of The Music Box was unfortunately one of sad disappointment. The undeniably well executed moments of the film only add to the frustration of what this film could’ve been, as there are too many falters to mar what had the potential to be a fantastic horror short.


Most features of The Music Box have lots of potential; the majority of scenes are effectively lit and composed, however there is a lack of attention to detail in the framing of scenes and the steadiness of the camera is often jarring. Making improvements to these somewhat basic problems would allow the audience to fully appreciate not only the cinematography of the film, but would allow the audience to become fully immersed in the narrative.


Although The Music Box has some shortcomings, the compelling performance given by lead Penny Ashmore is reason enough alone to watch the film. Ashmore carries the film through her role as Marcy, a musically gifted young woman who must struggle to survive a night of psychological torment at the hands of a mysterious music box.


Occasionally Ashmore’s performance is somewhat stifled by some poor dialogue, which is starkly contrasted by her performance in silent moments of the film – her incredibly hypnotic portrayal of emotion slowly builds with the tension of the film, eventually reaching a beautifully painful climax.


Despite the aforementioned sparse dialogue, this is by and large the worst feature of the film. The few dialogue-driven scenes are overflowing with uncomfortable character interactions and horror monologues, predominantly delivered by the slightly wooden Hendrik Harms (Jeremy).


Jeremy’s character simultaneously overloads the audience with heavy-handed exposition with little-to-no information; each scene in which he’s featured drags and unfortunately pulls the viewer out of narrative flow and deflates the tension that is so painstakingly built throughout.


This being said, the plot of the film is beautifully written – there is a painstaking amount of attention to detail given to subtle foreshadowing, which I find can only be fully appreciated after a second viewing.


This use of foreshadowing not only leaves interesting breadcrumbs for viewers to follow throughout, but also ties into the themes of time and perception, giving the plot a cohesion that is lost on most other aspects of the film. Unfortunately, the precision focused on the thematic and narrative elements of The Music Box may be the reason the dialogue is poor, as could have been deemed unimportant in comparison and therefore was neglected.


Perhaps some of The Music Box’s shortcomings are symptomatic of an over-arching issue: the over-involvement and, by extension, over-reaching of Hendrik Harms. Harms is credited as the writer, producer, director and co-star of the short; by tasking himself with such a large number of crucial production roles instead of finding others to fill them, Harms maybe was likely unable to apply the amount of focus that each of these roles require and therefore allowed the film to fall short.


However, I would recommend watching The Music Box because the highlights of the film are incredibly enjoyable and deserve attention, but also as a warning of the detrimental effects of involving yourself in too many aspects of the filmmaking process.


Beth Hawkes



By midlandsmovies, Apr 1 2019 04:51PM



The Front Runner (2019) Dir. Jason Reitman

Depicting the rise of Gary Hart, an American Democratic senator and 1988 presidential candidate, and to be honest for this 1980s born UK film reviewer a complete nobody to me, The Front Runner is a new political drama from Jason Reitman. Although not a shoe in, Hart hits the campaign trail hard and asks journalists “to follow him around”. Bad mistake. After publishing photos of Hart having an extra-marital liaison with journalist Donna Rice, he takes a stand against the press by arguing his private life is none of their business. In a world not just before the internet but even before the 24-hour TV news cycle, Hart’s request seems silly and naïve by today’s standards. Hugh Jackman plays the senator as a strong-willed but foolish man and the film positions itself as a commentary about an historical turning point in the coverage of the private lives of public figures. However, it doesn’t do this successfully despite Jackman’s compelling efforts as the bemused senator. There is however good support from the always excellent JK Simmons (as Hart’s campaign manager), Vera Farmiga as his put-upon wife and Sara Paxton playing his mistress. Whilst I was one of only a few that thought Spielberg’s The Post was overrated, the cinematic flourishes and clever script of that film show up the flaws in this one. Consequently then, The Front Runner ends up being all surface with little depth, telling a sordid tale in a Wikipedia-style fashion, ticking bland boxes as it goes. ★★★



The Dirt (2019) Directed by Jeff Tremaine

From the director of 4 Jackass-related movies, comes along a new musical biopic in the footsteps of Bohemian Rhapsody about 1980s glam-haired shock rockers Mötley Crüe. Based on the book The Dirt: Confessions of the World's Most Notorious Rock Band by Neil Strauss – which I read whilst being on tour with my own heavy rock band – the story begins in 1980 when Frank Carlton Feranna Jr leaves his abusive home and changes his name to Nikki Six. It isn’t long before he is hooking up with drummer Tommy Lee (he of later Pamela Anderson fame), guitarist Mick Mars and vocalist Vince Neil. After well-received gigs in LA, the band are signed to a 5-album deal and their crazy rock antics get more and more extreme. From touring with Ozzy Osbourne (who ‘snorts’ ants and drinks urine) they go through a slew of wild parties, model girlfriends, overdoses and a car crash which ultimately results in a conviction of manslaughter for Vince. After the set backs the band go on to hit the top of the charts, sell platinum albums and go on a successful world tour. Douglas Booth (from Loving Vincent) as Nikki is the best of the bunch whilst the others give admirable facsimiles of the rest of the band. Unremarkable throughout, and as someone who liked Bohemian Rhapsody but acknowledged its pretty nondescript-recounting of the band’s life, this film goes further into mediocre TV-production wishy-washiness. With little cinematic flair, this is definitely a film for the fans in the main, as it never gets under the make-up and tasteless clichés of the band, something the book – written from each band member’s viewpoint – actually did pretty successfully. Dr. Feel“bland” ★★★



Triple Frontier (2019) Directed by J. C. Chandor

A Netflix original film featuring A-List superstars Ben Affleck and Oscar Isaac and featuring a solid support cast of Charlie Hunnam, Garrett Hedlund, Adria Arjona and Pedro Pascal, Triple Frontier tackles a band of ex-soldiers who reunite for one big heist to rip off a Colombian drug baron. As Isaac tries to convince the team to get back together for one last big score (ensuring they’ll never have to work again obvs) the film’s first 25 mins moves at a pace but with little character development and a whole host of semi-retired-older-guys-getting-back-in-the-saddle clichés. After easily defeating the bland crime lord, who barely features to be fair, the guys load up their over-stuffed bags with cash. But their escape helicopter crashes as it is over the maximum weight owing to the greedy guts the guys have been. Director J. C. Chandor’s previous movie A Most Violent Year, also starring Oscar Isaac, was slow and measured – sometimes to a fault – but Triple Frontier is knuckleheaded and speedy – again, to a fault. The beginning had strong Predator-vibes – covert operation in the jungle - and to be honest I was hoping the film would go into sci-fi or horror territory to avoid the clichés it was delivering. The whole second half however shows the crew trying to get to a rendezvous point which had echoes of The Way Back (Peter Weir’s 2010 survival film) and the boredom sets in as the group slowly trudge back through different wildernesses. In the end, despite its big-name stars, the film disappoints on a triple front by being flat, flavourless and ultimately forgettable. ★★


Michael Sales


By midlandsmovies, Mar 10 2019 10:47AM



Midlands Review - Headphones


Directed by Thomas Line


2018


This new 7-minute short comes from Northampton director Thomas Line and tells the story of an introverted young girl who retreats from the world into the music blaring from her headphones.


We open in a bedroom where the girl Sarah (a fantastic Arabella Smith-James) is reading and listening to music as she blocks out the sound of what we assume are arguing parents.


Increasing the volume to drown out their war of words we then jump from night to day on a college campus where two girls hand out flyers for a local gig.


Sarah takes a flyer before pausing to exchange glances with one of the girls (actress Olivia Noyce in a small but important support role as Naomi), however as she heads into an underpass she crosses paths with a group of males who snatch the headphones from her head.


The small but meaningful glances are testament to good performance from the actresses as director Line uses music throughout. And its constant presence places the audience in a similar place to our protagonist. The absence of reams of dialogue also demonstrates a good handling of pacing and visuals to get the story across too, which compliments the subtle expressions on the faces of the girls.


As Sarah tries to retrieve her headphones from the one of the bullies (a menacing Joseph T. Callaghan) they are smashed on the ground and she returns home to the ever-constant presence of her family shouting.


With her soul crying out for a replacement, Sarah spots the flyer and decides to head to the live show. At the gig she spies the girl from before, and as the band take the stage she builds up the confidence to join the dancefloor, swaying in time to the music. The boy from the underpass is also there but Sarah rejects his advances before Noyce’s character Naomi steals his drink and invites Sarah outside on to a rooftop.


The cast are effective in a short that covers a lot of emotions with very few words. Placing an emphasis on a good soundtrack, the excellent sound editing and mixing is one of the film’s many technical achievements.


As the film draws to its conclusion, the short focuses on female friendship – or perhaps more – as Sarah comes out - both of her shell and more literally outside of the bar - for an intimate final moment of “headphone sharing” with her new acquaintance.


The fact the film treats this relationship as something for the audience to decide upon is a fine creative choice as the two look out across a sunset over the city and whether love or friendship, simply shows a sensitive connection between two people.


With brilliant performances from the three main cast members and the director’s focus on private and public moments, the film is a first-rate look at young female relationships. Exceptional music editing reflecting the feelings of those involved also emphasises its focus on aural experiences. And the excellent sound arrangement alongside the visuals helps create the narrative beats too.


As it wraps up though, Headphones emphasises the heart much more so than the head, and ends up being a tremendous local short that expresses a melodic harmony between two tender souls.


Michael Sales


By midlandsmovies, Oct 25 2018 02:43PM



Bohemian Rhapsody (2018) Dir. Bryan Singer


Let’s get the Queen song puns out of the way from the start. Is Bohemian Rhapsody “guaranteed to blow your mind”? Well, it’s a glossy, Queen-approved biopic that had some tremendous moments but unfortunately the sum is less than its parts as we follow the glam-infused rock-opera band from their early beginnings to their Live Aid performance of 1985.


We open backstage at that world-broadcast concert but are soon thrust back in time to 1970 where flamboyant singer Farrokh Bulsara (soon to be Freddie Mercury) meets up with Gwilym Lee as Brian May and Ben Hardy as Roger Taylor after their band ‘Smile’ loses their frontman.


Mercury is encapsulated, and then some, by a beyond-terrific performance from Rami Malek and although the film covers various aspects of the band’s career, Malek is thrust centre stage and like Freddie, all eyes are on him throughout the duration.


After securing bassist John Deacon the film stops off at varying points of the group’s milestones as we get to see the greatest hits of Mercury's life from his Zanzibar roots, Bombay originating parents, his meeting and engagement to lifelong companion Mary Austin, the band on tour and the subsequent falling outs.


Fun and harmless it is but sometimes borders on the bland with shot choices that were less than cinematic. This lack of consistency may have come from the removal of the film’s original director Bryan Singer. The irony of behind-the-scenes (or backstage if you will) creative differences isn’t lost on this reviewer.


Also losing a singer are Queen. The film sees Freddie’s ego get the better of him as his wild lifestyle lead him to a drug and sex-fuelled hedonism which culminates in him pursuing solo project without his band mates. Or his “family” as they are repeatedly referred to.


As a 12A film, the movie doesn’t go into Mercury’s debauched depths (Movie Marker’s Darryl Griffiths sums up the issue brilliantly here) and although it’s not a warts and all exploration, the film doesn’t shy from his sexuality and his subsequent discovery that he contracted AIDS.


The film therefore feels like its trying to cover far too much ground (around 15 years) and doesn’t give adequate space for all its plot and character ambitions. The wayward frontman scenes combine nicely with the studio sequences however. The repetition of Roger Taylor’s falsetto delivery of “Galileo” is a great nod to the band’s recording methods as seen on BBC2s’ “Making Of” documentary where hundreds of takes were attempted to achieve Freddie’s legendary perfectionism.


It gave the impression at times that the film (produced and approved by May and Taylor) was also attempting to force their contributions in which made it feel a bit "try-hard". The whole band were brilliant of course and each member essential but it was definitely the Freddie show that made the best cinema here.


And although a cameo from Mike Myers was a nice nod to the song’s influence, like far too much of the script, he delivers lines from Anthony McCarten's screenplay that are simply too on the nose. "We get it. It’s Wayne’s World! You don’t need to say it!"


One of the most talked-about, and lauded, scenes is the recreation of the band’s Live Aid show at Wembley Stadium. A fantastic realisation of the day, it is somewhat spoiled by a Return of the King (or should that be Queen) style ending that felt like it went on for days. Rami struts the stage in a way that is less than just a good impression and more of a total embodiment but after 15 minutes the film easily could have wrapped itself up after the first track.


As a huge fan of the band I enjoyed Bohemian Rhapsody but it's all a bit like Queen themselves – slightly indulgent, sometimes overlong and contains an unhealthy obsession with its own importance BUUUUUT you can't take your eyes off that man at the front. And Rami Malek is without doubt stunning as Freddie Mercury.


A shed-load of hits from Queen’s back catalogue are obviously interspersed throughout and the most moving moment was Malek’s delivery as he reveals his AIDS diagnosis to his weeping band mates. A heart-breaking and jolting sequence in a film that had been mostly surface throughout.


But I couldn’t dislike the film for its broad strokes. It aimed high and unfortunately fell a little flat yet I enjoyed much of the film’s approach, its likeable depictions of the band (and their hangers-on) as well as the shooting star of the show that is Rami Malek.


Broken into three parts – the film shows Freddie’s killing of his past persona growing up, then the campy frolics and hedonism of operatic orgies and a final head-banging ending with pulsating riffs and joyous rock – if only there was a Queen song that encapsulated all this.


8/10


Mike Sales


By midlandsmovies, Jun 16 2018 08:21AM



Songbird (2018)


Directed by Sophie Black


Written by Tommy Draper

Produced by Laura C. Cann.

Triskelle Pictures


Starring Janet Devlin (from ITV’s The X Factor), Songbird is an enchanting new short following a female singer who encounters a wicked stranger set on stealing her talents.


A folktale that jumps swiftly between reality and fantasy Songbird comes from Nottingham filmmaker Sophie Black and her Triskelle Production company who has already seen success with the 2016 film Night Owls.


With a feathery familiarity, here our red-headed heroine is Jennifer (played with a subtle vulnerability by Devlin) who is dropped off near a forest at the film's beginning. But as she holds up a writing board which says “Thanks for the ride”, we get the impression that all is not as it seems in the woods today.


Heading into the countryside, the eerie sounds are well edited as the crunch of leaves by Converse-wearing feet introduces us to the tone of the film which mixes a modern hipster vibe with fairy tale folklore.


Cutting to 3 weeks earlier at an open mic in a local café, a chattering and chirping audience isn’t paying a great deal of attention as Jennifer plays a soft rhyming ballad with her acoustic guitar. A wonderland of poetical lyrics sends us down an aural rabbit hole complimented by Black’s potent cinematography with its dreamy visuals and hazy glow.


As the audience warms to her soaring vocals we cut to a set of crusty finger nails drumming on the bar to reveal an evil dark-eyed woman. Whilst Jennifer is spotted by a local producer, all looks well but she is soon confronted by the ominous lady in an alley outside the venue. As a strange powder is blown over her by the old crone she awakens at home, yet an uncomfortable phone call reveals her inability to speak. Black invites the audience to ask if this is a medical condition, but a visit to the doctor finds nothing wrong and her frustration kicks in with her vocal wings wholly clipped.


However, a handwritten book of spells and rune symbols is discovered and we are migrated back to the film’s opening as Jennifer begins collecting frogs and mushrooms to concoct a potion that perhaps can release her from this spell.


Black alludes to well-known fairy-tale myth from Sleeping Beauty - as Jennifer passes out - to Devlin’s auburn hair which plays to the imagery of Little Red Riding Hood’s adventures in the woods. As well as this, Therese Collins is excellent as a classic villain keeping her victim in a state of bondage with her incantations. She mixes a dash of Helena Bonham Carter witchcraft with fellow vocal-thief Ursula from The Little Mermaid as she incubates her stolen voices in jars amongst the trees.


2018 has had a fair share of similar cinematic encounters with fantasy voices, from the silent creature in Guillermo Del Toro’s aquatic fable The Shape of Water, as well as Duncan Jones’ Mute. Black tackles some parallel themes using well-shot special effects, gothic make-up and a superb choral score at its conclusion to deliver a bittersweet fairy tale.


Like all good fairy tales though, the film could be interpreted with having a number of symbolic undertones including an allegory of stage fright. As a musician myself, the fear of losing one’s voice can be difficult to swallow and here the film showcases a strong female trapped in a cage of insecurities.


Songbird is a tremendous short that shows the importance of voices and how they can truly transform and heal when you are filled with doubts and a lack of confidence. Sophie Black demonstrates a skill for the craft of filmmaking and, others take note, has created an artistic short with a raft of narrative to keep an audience captivated. With a selection of thematic and emotional beats, Songbird therefore takes flight with a magical trip from the mic stand to wonderland.


Midlands Movies Mike


By midlandsmovies, Apr 13 2018 07:58AM

Flatpack Film Festival 2018


The 2018 Flatpack Film Festival kicks off on Friday 13th April so get ready to experience over 100 events and screenings across venues across Birmingham.


Running until 22nd April, there are plenty of options for all kinds of cinema fans and we take an overview look at some of the best the festival has to offer over the full 2 weeks of fun.




Colour Box

This is a fabulous film lucky dip with a focus on “doing” as much as on “viewing”. This year’s creative playground includes smartphone projectors, Moomin puppets, VR adventures and a massive zoetrope, while in the screening programme you can find the best new family shorts and features from around the world. Colour Box is suitable for all ages, although even more fun if you’re 11 and under!




Birmingham 68

A landmark year internationally, 1968 was also a turbulent time for Birmingham. This eye-opening, city-straddling programme will take you from Digbeth bikers to Erdington psychedelia, from black masses in Solihull to the lost streets of Balsall Heath. On 13-15 April a host of special guests will join us for a weekend of walks, talks and screenings tapping into a range of subjects that still resonate today. Flatpack welcome a range of guests including writer Dilip Hiro and Oscar-winning cinematographer Chris Menges and there's a very rare chance to see a psychedelic Cilla Black satire set in Ladywood.




Optical Sound

Optical Sound explores the love affair between sound and image through a packed weekend of live events and screenings. Expect AV artistry, music documentaries and ingenious gadgets.




Unpacked

A chance to poke around under the bonnet and explore the creative processes behind some of the work on show at Flatpack. At the heart of Unpacked is a day of talks and demonstrations with a fantastic line up of artists, inventors and filmmakers, while at Film Camp the focus shifts from making to showing. Film Camp is designed to gather together film exhibitors from across the Midlands to share their wealth of experience, and to explore fresh approaches to programming and audience development. The event is open to everyone from multi-screen venues and festivals to community cinema organisers and student film groups.




Special Events

Check out Flatpack’s full complement of theatre, performance, live soundtracks, daft parties and a quiz. Highlights include live animation troupe Paper Cinema and a night at the circus to remember.




Features, Shorts and Documentaries

based at the Electric and the Mockingbird, this year's survey of the best new films from around the world is a fantastic trip. For those who don’t know, Flatpack started life as a film night in a pub and the short films are an end in themselves, overflowing with great ideas and indelible images. In 2018 the competition expands to six programmes and will include a bumper crop of UK premieres. Flatpack’s international documentary selection is by turns playful, provocative and strange.


Short Film Competition Pass

The short film competition is the shining jewel in our crown each year and audiences can pick up a pass wo view Is This Some Kind Of Joke, Little Wonders, Signal To Noise, Artefacts, Memory Lane and Breaking Point for just £32.



To buy tickets and to check out the full programme go to the festival's official website - http://flatpackfestival.org.uk


By midlandsmovies, Mar 16 2018 04:19PM



Score: A Film Music Documentary (2016) Dir. Matt Schrader


If music be the food of love play on! This fantastic documentary has a who’s who roster of infamous film music composers and the sheer range of the talent on offer is worth a watch even to a passing fan of the medium.


But if you enjoy film then you must certainly be a fan. Hans Zimmer, Danny Elfman, John Williams, Trent Reznor, Tom Holkenborg, Randy Newman, Alexandre Desplat are just some of the stars interviewed in the amazing story of movie music.


Throughout, every aspect of the process is covered, as well as the historical context, and some of the pure joy is simply listening to the interviewees talking about their influences and contemporaries.


From James Cameron explaining a spotting session (where a director and composer get together to decide where music is going to be) to Hans Zimmer talking about the fear of the first meeting (“I think you better phone John Williams, I have no idea how to do this”) the trials of composing and the enjoyment of the challenges comes across in each talking-head segment.


The documentary shows Rachel Portman working on the film RACE with a screen next to her piano which a fantastic insight into her particular process whilst the film discusses motifs (such as those in Close Encounters & Lord of the Rings) and other music theory in simple but passionate terms.


Historically we see Alex North’s A Streetcar Named Desire revolutionary music as well as John Barry’s swinging big band scores (James Bond). Giving further context, current Bond composer David Arnold adds no spy film would feel like one without similar style which is the same for Morricone’s iconic sounds of Spaghetti Westerns.


From the toy piano in the intro music to the TV show Rugrats to orchestral pieces, no style is left uncovered and there’s fun to be had as the composers run through their strangest instruments in a montage of the weird and wonderful.


We are told “There’s no such thing as the wrong way to do something” as the diversity of music styles and the iconic films they are from are interrogated. Drums of Mad Max: Fury Road give way to segments about the science behind music. One of the most interesting parts describes the physiological response within the brain, followed by Moby’s “air molecules” analogy.


As Randy Newman fawns over Gerry Goldsmith we get the arrival of John Williams and his incredible splash of Star Wars and Jaws in the 70s. His rediscovery of classic orchestral scores (e.g. Superman, Indiana Jones) saw a revival of the medium leading all the way to his Duel of the Fates choir at Abbey Road.


If there was one flaw it would be that we only briefly get a piece of the history/composer before we move on to the next. Many of the explorations of genres, individual composers, music history and instrumentation go by so quickly, it can be a little frustrating. Each one alone could have entire documentaries of their own dedicated to their part but it’s a small gripe in a mostly fascinating piece.


Taking us from the need for music to cover up noisy projectors at the turn of the 20th century to Trent Reznor’s experimentations in his Oscar-winning The Social Network sound design, SCORE is a comprehensive documentary covering all the major players in over 100 years of movie music. Although brief at times, it barely misses a beat and if you’re not reaching for your LPs, CD shelf or Spotify account after watching this then I’m not sure you have any right to call yourself a film fan.


8/10


Midlands Movies Mike


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