For his first vlog entry, Chris talks about the first three records that changed his life.
Our Star Wars review.
Blaster Beam — Craig Huxley and Craig Huxley with Bear McCreary and use in the Klingon Battle.
Chris conducts a remote interview with Tyler Kitchens, composer for the film, “By Night’s End.”
To hear more from Tyler Kitchens go to his website, look for him on Spotify and follow him on Instagram.
Podcast: Play in new window | Download
Subscribe: Apple Podcasts | RSS
For the premiere episode for his blog extension, Chris has a remote discussion with composer/musician Amanda Bocchi featuring a live performance.
To hear more from Amanda Bocchi visit her on her website as well as Soundcloud & YouTube
Don’t forget to follow her on
Facebook, Twitter & Instagram
Podcast: Play in new window | Download
Subscribe: Apple Podcasts | RSS
If you’ve listened to our review of A24’s newest horror offering, “Hereditary,” directed by Ari Astar, then you know how much I hated the film. The experience of watching this in the theater was frustrating. I often felt bored due to the tedious nature of most of the scenes, editing and run time. Upon reflection, however, I found the resonance of what I heard affecting. The echo of which has caused me to reexamine this film.
There is a style to Guillermo del Toro’s films that is simultaneously recognizable and elusive. Indeed, there are certain design aesthetics he favors, often letting the story dictate the production design rather than adapting the story to conform to a certain look.
George A. Romero’s “Night of the Living Dead” is incomparable. It is the quintessential zombie film that set the standard and most of the rules for every zombie film that followed**. For me, however, George A. Romero’s masterwork was his 1978 film, “Dawn of the Dead.”
“Dies Irae” (That Day of Wrath) is a Gregorian Chant which dates back to the 13th century. It is probably one of the oldest and most recognized pieces of early music, and its use throughout the ages has been predominantly for religious music, starting with Catholic and then other Judeo-Christian masses.
In our podcast about “Star Trek Beyond,” I argued that Michael Giacchino’s score could be considered a supporting character. He teases the main theme throughout the movie, using its buildup [0:00-0:42–theme starts 0:43] and variations to support the progression of the story, as well as character locations, emotions and actions.
Recent Comments