Clint Worthington (Page 5) | The Spool

Clint Worthington (Page 5)

Clint Worthington is the founder and editor-in-chief of The Spool, as well as one of the founders of the website/podcast Alcohollywood in 2011. He is also a Senior Writer at Consequence of Sound, as well as the co-host/producer of Travolta/Cage. You can also find his freelance work at IndieWire, UPROXX, Syfy Wire, The Takeout, and Crooked Marquee.

Criterion Corner: Shaft remains a bad mutha, on a great 4K upgrade

The first Black superhero in cinema history gets a groovy 4K release, packed with extras (and the film's sequel).

Ariel Marx on disrupting the oppressive sameness of Candy

The multi-instrumentalist and composer searches for the musical fractures in the suburban idyll of Hulu's miniseries.

Karl Frid on the sacred and the profane of “Pleasure”

The Swedish composer breaks down his hypnotic score for Ninja Thyberg’s unblinking look at the adult film industry. Welcome to Right on Cue, the podcast where we interview film, TV, and video game composers about the origins and nuances of their latest works. Films about sex are rare, films about porn even rarer. And when ... Karl Frid on the sacred and the profane of “Pleasure”

Unraveling pop-culture one thread at a time

The Spool is an irreverent, informative source for film and television coverage, focused on diverse, thoughtful opinions that seek out a greater understanding of the media we love.

Hesham Nazih on building the authentic musicality of Moon Knight’s Egyptian setting

The Egyptian composer talks about his dazzling, adventurous score to Marvel's latest.

Not even Sam Raimi scares can save Doctor Strange in the Multiverse of Madness

By: Clint Worthington

Sam Raimi returns to the world of superheroes, but not even his signature horror-tinged style can save a franchise content to spin its wheels.

Rafiq Bhatia of Son Lux on the multiverse-spanning music of Everything Everywhere All at Once

The Son Lux bandmember talks about exploring the sonic possibilities of Daniels' absurdist opus.

Severance’s Theodore Shapiro on bridging memories through music

The Emmy-nominated composer talks about locking onto the hollow horrors of office life in his score for the acclaimed Apple TV+ series.

Michael Bay’s Ambulance resuscitates the mid-budget heist thriller

By: Clint Worthington

Armed with $40 million worth of drones and Jake Gyllenhaal, the action auteur delivers one of his most relentlessly entertaining exercises in cinematic excess.

Ben Salisbury and Geoff Barrow on the eerie atmosphere of Archive 81

Welcome to Right on Cue, the podcast where we interview film, TV, and video game composers about the origins and nuances of their latest works. It’s safe to say that the world of film music, especially modern film music, owes a lot to Portishead’s Geoff Barrow. In a large way, that’s due to the instrumentalist ... Ben Salisbury and Geoff Barrow on the eerie atmosphere of Archive 81

X offers up retro slasher sleaze with a meta money shot

By: Clint Worthington

Ti West's deviously inventive porno-horror balances sick kills with an aching longing for the vagaries of youth.

Rob Simonsen on The Adam Project and finding intellectual truth in film music

The composer talks to us about going from indies to Netflix's big budget action-adventure film.

The Batman grounds the Caped Crusader in one of his best iterations yet

By: Clint Worthington

Imperfect though it may be, Matt Reeves' dust-grey reimagining of the Dark Knight is one of the most inventive takes on the character on screen in ages.

Nathan Halpern on the tension and tragedy of Native-led thriller Catch the Fair One

The celebrated composer returns to talk about his tense, minimalist score for the Native-led revenge thriller.

Dara Taylor on drifting through time and music for The Tender Bar

The composer discusses her big solo break for George Clooney's awards-season drama.

Jimmy LaValle on the eerie sounds of Sundance chiller Something in the Dirt

The Album Leaf instrumentalist talks about his fourth creepy collaboration with Justin Benson and Aaron Moorhead.

Jackass Forever sends the ball-busting buddies keenly into their twilight years

By: Clint Worthington

Johnny Knoxville and the gang may be greyer, but their unquenchable thirst to debase themselves for our enjoyment continues unabated.

Daniel Pemberton on capturing the Golden Age sweep of Being the Ricardos

The Oscar-nominated composer goes old-school symphonic for his latest collaboration with Aaron Sorkin.

Tribeca 2021: “See For Me” is an antiheroic take on “Wait Until Dark”

By: Clint Worthington

Randall Okita's twisty home invasion thriller makes ample use of its concept, and defies expectations for both good and ill.

Female-led actioner The 355 is a big fat zero

By: Clint Worthington

Simon Kinberg directs a shaky, dated girl-power actioner that wastes its overqualified cast.

Dickon Hinchliffe on the “lost mixtape” feel of The Lost Daughter

The composer talks about building a retro '60s sound for Maggie Gyllanhaal's haunting directorial debut.

Criterion Corner: The Learning Tree, One Night in Miami…

Two astonishing debuts from Black filmmakers populate Criterion's December offerings.

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