“Leonardo DiCaprio spends most of the saga alone in the wilderness, and the score keeps him company as mirages, memories and landscape merge in his drifting mind. Cellos slip and slosh through a G-minor phrase that keeps pivoting back on itself in slow legato notes, against a reverberant, windy drone. Sakamoto slowly progresses through glacial chords that build toward a fortissimo horizon.” — from an assessment of Ryuichi Sakamoto‘s Revenant score by Vulture‘s Justin Davidson, posted on 12.27.
Roughly two months ago a very early draft of Eric Roth‘s screenplay for Killers of the Flower Moon (dated 2.20.17,...
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Frances McDormand‘s Fern was strong but mule-stubborn and at the end of the day self-destructive, and this stunted psychology led...
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Can’t decide which performance is better, although I’ve always leaned toward Tina Vitale, her cynical New Jersey moll behind the...
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Two days ago (1.19) a Facebook tribute congratulated Tippi Hedren for having reached her 94th year (blow out the candles!)...
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A friend suggested a list of the Ten Best American Crime Flicks of the ‘70s. By which he meant films...
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I’ve never been able to give myself over to Sam Peckinpah’s Major Dundee, a 1965 Civil War–era western, and I’ve...
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