Guy Ritchie and Jason Statham reteam for a muscular, but clunky revenge thriller too committed to its convoluted structure.
Author: Clint Worthington
April’s Criterion releases include an early classic by Bong Joon-ho and a dizzying, meta-critique of French cinema from Olivier Assayas.
The composer breaks down the sprawling score for Netflix’s latest big-budget fantasy series.
No number of CGI-blood-soaked fatalities can elevate the TV-show feel of Simon McQuoid’s halting, wooden adaptation of the fighting game series.
The composer returns to talk about returning to the Marvel Universe and expanding on his themes for the latest Disney+ series.
How Francis Ford Coppola’s visually stunning romance set out to change studio filmmaking forever — and crashed and burned along the way.
HBO’s steampunk fantasy series has more kickass/traumatized women, X-Men superpowers, and inane banter than you can shake a Reaver at.
The avant-garde composing duo discuss their collaboration and building the unsettling soundscape of the Shudder original The Power.
The composer talks about the complexities of thriller scoring and the elusive, ’70s-tinged score for Netflix’s latest true crime docudrama.
It’s dumb as a box of rocks, but Adam Wingard’s addition to the American-produced MonsterVerse hits its spectacle sweet spots.
The veteran composer talks to us about his continuing the legacy of John Williams’ scores for Star Wars for The Clone Wars’ final season.
Mike Leigh’s kitchen-sink drama and Albert Brooks’ droll afterlife comedy are two of Criterion’s stellar March releases.
Wong Kar-wai’s dreamy, pop-culture-infused romance grounds time and self in a giddy exploration of commodity fetishism.
Tales of poverty, paranoia, and adolescences framed by tragedy cap off SXSW’s Narrative Feature Competition.
SXSW 2021’s Narrative Feature Competition includes autobiographical queer comedies, COVID-set romantic dramedies, and more.
The Coming 2 America composer talks about finding the sound of Zamunda and the need for opportunities for Black composers.
The avant-garde musician talks about his first foray into the world of feature film scoring, and the experimental, yearning score that followed.
The latest trip to Bikini Bottom soaks the sea in garish CG animation and a creaky level of sentiment, but plenty of the show’s surreal delights remain.