Wow. Didn't know that. I love Yared's work. I heard that Horner did the Aliens score at the last minute, mostly because Cameron didn't have a satisfactory cut of the film until the ninth inning.

I'll just put this right here:

I love the lyricism of his Sneakers soundtrack, until I just can't stop hearing that four note thing he always does. Seriously, his score from Troy was almost entirely those same four notes underscored with some angry cellos.

Horner's talent for orchestration greatly exceeded his talent at composition. One of the side effects of the general public's unfamiliarity with orchestral music of the past is that arrangers like Horner are too frequently confused with composers.

Very sad that he has died.

There's an achingly sad word bandied about in documentary film maker circles. It's the dreaded "Lawyer's Cut" that occurs after the director has locked his or her own cut. Any sticky, icky, libelous, or uncomfortable truths are either scrubbed or unceremoniously excised from the documentary. The most effective of…

I am now playing the theme song to annoy Mrs. Reverend Doctor. "How can I love a movie so much when I hate this song so much?"

I looked for it online, and it looks like a Chinese DVD is the only digital format available. Nothing else was released after the VHS. That's kinda weird…

Wait, was that a black guy joke?

Kate Mara's on screen presence is the equivalent of a bulldog in a swimming pool: it can't swim efficiently, is always at risk of sinking, and its face isn't designed to snorkel above the surface of the water.

Maybe Matt can just go looking for Don Cheadle to learn how to grow crops on Mars.

Outside of Clockers, I've never felt that Richard Price's novels or screenplays ever really work on screen. I remember his remake of Night and the City as a two hour film that felt like four, The Wanderers as a tonal mess that oscillates wildly between buffoonery and verisimilitude, The Color of Money has a lumpy plot…

Boll is certainly trolling, but let's not badmouth the tax-shelter model of film making. Directors like Brian De Palma and David Cronenberg benefited greatly from similar schemes in the US and Canada before the loopholes were closed and they were shut down. Even Monty Python and the Holy Grail was almost entirely…

Between Total Recall and Hollow Man, Verhoeven set high standards for photorealistic special effects in the pre- and post-digital eras. He should be spoken of in the same breath as Cameron and Spielberg. Shame about the Hollow Man script, though.

I worked at a Suncoast Motion Picture Company in the '90s. My District Manager skimmed the till and bought a Bose sound system for the store. We then looked for any and every movie that sounded great to put on the in-store play. I saw Dune and Empire Records many many times because of this. I know that it wasn't…

"…an increasingly bloated, byzantine cinematic universe" <—- Yes. This.

So told to me by comic book fans. I'm not much of a fan. Obviously you have opinions, so good luck with that.

wow.

The crossover appeal of these superhero movies means that multiple characters can appear in multiple forms across multiple stories (or so I've been told). Naturally, this means that Nolan could have his smoker's-lung vision of the world simultaneous with Miller, or whomever. The bigger issue is how the guy wields his…

What kind of a world do we live in where Christopher Nolan can have the power to block the making of a George Miller film?