A total of 145 scores were recently announced as being eligible for this year’s Academy Award, with everything from perceived frontrunner “La La Land” (Justin Hurwitz) and “Jackie” (Mica Levi) to outliers like “Sausage Party” and “Elle.” The final five will be nominated on January 24. In the meantime, avail yourself of this Spotify playlist featuring selections from 110 of the eligible scores — as well as the full list of every eligible score.
Read More: Oscar Best Score Contenders: The Inside Story of Creating 5 Diverse Frontrunners
Read More: Oscars 2017: Listen to 70 Songs Eligible for This Year’s Academy Award
The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,...
Read More: Oscar Best Score Contenders: The Inside Story of Creating 5 Diverse Frontrunners
Read More: Oscars 2017: Listen to 70 Songs Eligible for This Year’s Academy Award
The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,...
- 1/3/2017
- by Michael Nordine
- Indiewire
As Martin Scorsese once said, “Music and cinema fit together naturally. Because there’s a kind of intrinsic musicality to the way moving images work when they’re put together. It’s been said that cinema and music are very close as art forms, and I think that’s true.” Indeed, the right piece of music — whether it’s an original score or a carefully selected song — can do wonders for a sequence, and today we’re looking at the 35 films that best expressed this notion this year.
From seasoned composers (e.g. Carter Burwell, Clint Mansell, Cliff Martinez, and the Kluges) to accomplished musicians (e.g. Mica Levi and Scott Walker), as well as a smattering of soundtracks (e.g. 20th Century Women and American Honey), each musical example perfectly transported us to the world of the film.
Check out our rundown of the top 35, which includes streams to...
From seasoned composers (e.g. Carter Burwell, Clint Mansell, Cliff Martinez, and the Kluges) to accomplished musicians (e.g. Mica Levi and Scott Walker), as well as a smattering of soundtracks (e.g. 20th Century Women and American Honey), each musical example perfectly transported us to the world of the film.
Check out our rundown of the top 35, which includes streams to...
- 1/2/2017
- by Jordan Raup
- The Film Stage
The Academy of Motion Picture Arts and Sciences today announced that 145 scores from eligible feature-length motion pictures released in 2016 are in contention for nominations in the Original Score category for the 89th Academy Awards.
The eligible scores along with their composers are listed below, in alphabetical order by film title:
“The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,” Silvia Leonetti, composer
“Assassin’s Creed,” Jed Kurzel, composer
“Autumn Lights,” Hugi Gudmundsson and Hjörtur Ingvi Jóhannsson, composers
“The Bfg,” John Williams, composer
“Believe,” Michael Reola, composer
“Ben-Hur,” Marco Beltrami and Buck Sanders, composers
“Bilal,” Atli Ӧrvarsson, composer
“Billy Lynn’s Long Halftime Walk,” Mychael Danna and Jeff Danna,...
The eligible scores along with their composers are listed below, in alphabetical order by film title:
“The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,” Silvia Leonetti, composer
“Assassin’s Creed,” Jed Kurzel, composer
“Autumn Lights,” Hugi Gudmundsson and Hjörtur Ingvi Jóhannsson, composers
“The Bfg,” John Williams, composer
“Believe,” Michael Reola, composer
“Ben-Hur,” Marco Beltrami and Buck Sanders, composers
“Bilal,” Atli Ӧrvarsson, composer
“Billy Lynn’s Long Halftime Walk,” Mychael Danna and Jeff Danna,...
- 12/14/2016
- by Melissa Thompson
- WeAreMovieGeeks.com
The Academy of Motion Picture Arts and Sciences (AMPAS) has announced the 145 scores eligible in the Best Original Score category, includeing work from “Jackie” and “La La Land.” The latter film, a musical directed by “Whiplash” helmer Damien Chazelle, picked up the Los Angeles Film Critics Association’s award for Best Music earlier this month; “Jackie” was the category’s runner-up. Notably absent, meanwhile, are “Arrival” (which just landed a Golden Globe nod), “Manchester by the Sea” and “Silence.”
Read: ‘La La Land’: Emma Stone and Ryan Gosling’s ‘City of Stars’ Duet Will Sweep You Off Your Feet – Listen
Justin Hurwitz composed and orchestrated the “La La Land” score, while “Jackie” marks “Under the Skin” composer Mica Levi’s second silver-screen effort. Decades after becoming one of the world’s most renowned film composers, Ennio Morricone won last year’s Oscar for his work on Quentin Tarantino’s “The Hateful Eight.
Read: ‘La La Land’: Emma Stone and Ryan Gosling’s ‘City of Stars’ Duet Will Sweep You Off Your Feet – Listen
Justin Hurwitz composed and orchestrated the “La La Land” score, while “Jackie” marks “Under the Skin” composer Mica Levi’s second silver-screen effort. Decades after becoming one of the world’s most renowned film composers, Ennio Morricone won last year’s Oscar for his work on Quentin Tarantino’s “The Hateful Eight.
- 12/14/2016
- by Michael Nordine
- Indiewire
Does anybody still care about great movies for small children? If so, here’s a good one. A big, furry green dragon named Elliot is the kind of playmate every lonely kid wants. It’s a non-musical rethinking of the old 1977 movie, made with taste, discretion, and plenty of heart.
Pete’s Dragon
Blu-ray + DVD + Digital HD
Walt Disney Studios
2016 / Color / 2:39 widescreen / 103 min. / Street Date November 29, 2016 / 39.99
Starring Bryce Dallas Howard, Robert Redford, Oakes Fegley, Wes Bentley, Karl Urban, Oona Laurence, Isiah Whitlock Jr. .
Cinematography Bojan Bazelli
Film Editor Lisa Zeno Churgin
Original Music Daniel hart
Written by David Lowery, Toby Halbrooks based on screenplay by Malcolm Marmorstein based on a story by Seton I. Miller, S.S. Field
Produced by James Whitaker
Directed by David Lowery
Reviewed by Glenn Erickson
I think I watched only about four minutes of the old Pete’s Dragon on TV long ago, before ditching out.
Pete’s Dragon
Blu-ray + DVD + Digital HD
Walt Disney Studios
2016 / Color / 2:39 widescreen / 103 min. / Street Date November 29, 2016 / 39.99
Starring Bryce Dallas Howard, Robert Redford, Oakes Fegley, Wes Bentley, Karl Urban, Oona Laurence, Isiah Whitlock Jr. .
Cinematography Bojan Bazelli
Film Editor Lisa Zeno Churgin
Original Music Daniel hart
Written by David Lowery, Toby Halbrooks based on screenplay by Malcolm Marmorstein based on a story by Seton I. Miller, S.S. Field
Produced by James Whitaker
Directed by David Lowery
Reviewed by Glenn Erickson
I think I watched only about four minutes of the old Pete’s Dragon on TV long ago, before ditching out.
- 12/3/2016
- by Glenn Erickson
- Trailers from Hell
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
This week’s question:
Last Friday saw the release of Garth Davis’ “Lion,” the musical score for which is the gorgeous result of a collaboration between two giants of the neo-classical movement, Dustin O’Halloran and Hauschka. It’s just the latest indication that we’re living in a fascinating, vibrant time for movie music, and December boasts a number of films that will only add more fuel to that fire. With that in mind, we asked our panel of critics to name their favorite film score of the 21st Century.
Tasha Robinson (@TashaRobinson), The Verge
There are some really striking contenders out there, topped by Susumu Hirasawa’s manic,...
This week’s question:
Last Friday saw the release of Garth Davis’ “Lion,” the musical score for which is the gorgeous result of a collaboration between two giants of the neo-classical movement, Dustin O’Halloran and Hauschka. It’s just the latest indication that we’re living in a fascinating, vibrant time for movie music, and December boasts a number of films that will only add more fuel to that fire. With that in mind, we asked our panel of critics to name their favorite film score of the 21st Century.
Tasha Robinson (@TashaRobinson), The Verge
There are some really striking contenders out there, topped by Susumu Hirasawa’s manic,...
- 11/28/2016
- by David Ehrlich
- Indiewire
One of the things you have to do if you’re going to be a film critic who wants to consistently weigh in on films of every genre and style is meet films on their own terms, and while that sounds easy, it feels like more often than ever before, I see critics who just plain reject entire styles of storytelling. How many times have you read a variation on “I hate horror films” or “I hate superhero movies” or “I hate Westerns” from critics? I don’t understand that because I love film as a whole, and I would hate to do this professionally if I was filled with dread at every single example of a type of film that I had to see frequently. Sure, there are plenty of disappointments that stack up over the course of a year, but unless you walk in wide open to every film,...
- 8/16/2016
- by Drew McWeeny
- Hitfix
The word you’re looking for is “sincerity.” It’ll be on the tip of your tongue from the opening shots of “Pete’s Dragon,” a warm, wistful, and wholly wonderful remake of a 1977 Disney musical that today’s kids have never heard of and yesterday’s kids have long since forgotten. That word, baked into every aspect of this rewarding live-action fable, will be staring you in the face as the film’s powerful prologue careens from adventure to tragedy and back again. It may have been ushered into production on the dying fumes of brand recognition, but — from that exhaust — director David Lowery has crafted something that feels like it comes from the heart. There are remakes, and then there are remakes, and “sincerity,” above all else, is what most definitely makes this one of the latter.
Between “Cinderella,” “The Jungle Book,” and next year’s “Beauty and the Beast,...
Between “Cinderella,” “The Jungle Book,” and next year’s “Beauty and the Beast,...
- 7/27/2016
- by David Ehrlich
- Indiewire
Normally predicated on mining compelling source material that worked the first time around in the hopes of drumming up an entirely new set of eyes, Hollywood’s remakes have a track record about as far from impeccable as it gets. Whether through needlessly upping the scale or tipping too far into unimaginative reverence, they can often leave out the original’s soul in favor of mass appeal. This is what makes another take on Pete’s Dragon such a peculiar proposition. The original, released in 1977, was a modest financial success, yet, in terms of quality, it’s perhaps a childhood favorite that is better not to revisit in order to hold onto those glimmers of nostalgia — if they may exist.
Unburdened by expectations — unlike some Sundance alums who have carried the weight of Hollywood’s biggest franchises — David Lowery is the ideal director to take on a new version of...
Unburdened by expectations — unlike some Sundance alums who have carried the weight of Hollywood’s biggest franchises — David Lowery is the ideal director to take on a new version of...
- 7/27/2016
- by Jordan Raup
- The Film Stage
It has been another extraordinary year for motion pictures. We recently posted our staff list of the 30 best films released in 2013, and with 40 writers who participated, 160 films received at least one vote. Every year we also post an article listing the best movie scores, only this this time I decided to do something a little different. Instead of writing a lengthy, time-consuming article (which to be honest, wouldn’t give the music justice since you can’t hear any of the tracks), I instead decided to make a mix tape for our listeners. Included are 20 tracks from my 16 favourite original movie scores released this year.
Film scores were once exclusive to classically trained musicians, but over time, more and more filmmakers have hired rock, soul, electronic and hip-hop artists to create the original sound of their movies. This year alone, we’ve seen scores composed by M83’s Anthony Gonzalez...
Film scores were once exclusive to classically trained musicians, but over time, more and more filmmakers have hired rock, soul, electronic and hip-hop artists to create the original sound of their movies. This year alone, we’ve seen scores composed by M83’s Anthony Gonzalez...
- 12/29/2013
- by Sound On Sight Podcast
- SoundOnSight
And so 2013 ends with one final What to Watch to carry you through to 2014. Have some gift card money burning a hole in your wallet? Want something to stream while your family bickers over the holiday? Just need a break from it all? Here are the latest and greatest new releases, listed in the order we’d put ‘em on an Amazon wish list.
Ain’t Them Bodies Saints
Photo credit: IFC
“Ain’t Them Bodies Saints”
David Lowery’s Sundance hit is a 2013 film that I can guarantee you will grow in esteem as time goes by. Future generations will be surprised that it didn’t get enough attention on its initial release. I’ve been stunned at its complete absence in the year-end conversation. It’s not a perfect film but there’s a lot to like here from Bradford Young’s gorgeous cinematography to great performances by Casey Affleck,...
Ain’t Them Bodies Saints
Photo credit: IFC
“Ain’t Them Bodies Saints”
David Lowery’s Sundance hit is a 2013 film that I can guarantee you will grow in esteem as time goes by. Future generations will be surprised that it didn’t get enough attention on its initial release. I’ve been stunned at its complete absence in the year-end conversation. It’s not a perfect film but there’s a lot to like here from Bradford Young’s gorgeous cinematography to great performances by Casey Affleck,...
- 12/24/2013
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
To those voting for the nominees for Best Original Score for this year's Oscars, they've got a lot of listening to do. A longlist of 114 eligible scores has been released, running the gamut of indies to blockbusters and everything in between. So what makes a score able to contend? Here's the official Academy rules: To be eligible, the original score must be a substantial body of music that serves as original dramatic underscoring, and must be written specifically for the motion picture by the submitting composer. Scores diluted by the use of tracked themes or other preexisting music, diminished in impact by the predominant use of songs, or assembled from the music of more than one composer shall not be eligible. The final five will be announced on January 16th, with the trophies handed out March 2nd. [Deadline] “Admission,” Stephen Trask, composer “Ain’t Them Bodies Saints,” Daniel Hart, composer “All Is Lost,...
- 12/13/2013
- by Kevin Jagernauth
- The Playlist
One hundred fourteen scores from eligible feature-length motion pictures released in 2013 will be vying for nominations in the Original Score category for the 86th Oscars®, the Academy of Motion Picture Arts and Sciences announced today.
A Reminder List of works submitted in the Original Score category will be made available with a nominations ballot to all members of the Music Branch, who shall vote in the order of their preference for not more than five achievements. The five achievements receiving the highest number of votes will become the nominations for final voting for the award.
Nomination voting in all Oscar categories begins Friday, December 27 and ends Wednesday, January 8.
The eligible scores along with their composers are listed below, in alphabetical order by film title:
“Admission,” Stephen Trask, composer
“Ain’t Them Bodies Saints,” Daniel Hart, composer
“All Is Lost,” Alex Ebert, composer
“Alone Yet Not Alone,” William Ross, composer
“The Armstrong Lie,...
A Reminder List of works submitted in the Original Score category will be made available with a nominations ballot to all members of the Music Branch, who shall vote in the order of their preference for not more than five achievements. The five achievements receiving the highest number of votes will become the nominations for final voting for the award.
Nomination voting in all Oscar categories begins Friday, December 27 and ends Wednesday, January 8.
The eligible scores along with their composers are listed below, in alphabetical order by film title:
“Admission,” Stephen Trask, composer
“Ain’t Them Bodies Saints,” Daniel Hart, composer
“All Is Lost,” Alex Ebert, composer
“Alone Yet Not Alone,” William Ross, composer
“The Armstrong Lie,...
- 12/13/2013
- by Michelle McCue
- WeAreMovieGeeks.com
And they are: “Admission,” Stephen Trask, composer “Ain’t Them Bodies Saints,” Daniel Hart, composer “All Is Lost,” Alex Ebert, composer “Alone Yet Not Alone,” William Ross, composer “The Armstrong Lie,...
- 12/12/2013
- by Sasha Stone
- AwardsDaily.com
A total of 114 scores from feature-length films released in 2013 are in contention for nominations in the original score category for the 86th Oscars, the Academy of Motion Picture Arts and Sciences said Thursday. The eligible scores (listed in alphabetical order by film title): "Admission," Stephen Trask, composer "Ain't Them Bodies Saints," Daniel Hart, composer "All Is Lost," Alex Ebert, composer "Alone Yet Not Alone," William Ross, composer "The Armstrong Lie," David Kahne, composer "Arthur Newman," Nick Urata, composer "At Any Price," Dickon Hinchliffe, composer
read more...
read more...
- 12/12/2013
- by THR Staff
- The Hollywood Reporter - Movie News
Senior executives at the Academy announced on Dec 12 that 114 scores have been submitted for the original score Oscar category.Scroll down for full list
A reminder list of works submitted will be made available with a nominations ballot to all members of the music branch, who will vote in the order of their preference for up to five scores.
Those five that receive the highest number of votes will be announced as nominees on January 16 2014.
According to the rules, to be eligible the original score must be a “substantial body of music that serves as original dramatic underscoring, and must be written specifically for the motion picture by the submitting composer.
Scores diluted by the use of tracked themes or other preexisting music, diminished in impact by the predominant use of songs, or assembled from the music of more than one composer shall not be eligible.”
Admission, Stephen Trask
Ain’t Them Bodies Saints, Daniel Hart
[link...
A reminder list of works submitted will be made available with a nominations ballot to all members of the music branch, who will vote in the order of their preference for up to five scores.
Those five that receive the highest number of votes will be announced as nominees on January 16 2014.
According to the rules, to be eligible the original score must be a “substantial body of music that serves as original dramatic underscoring, and must be written specifically for the motion picture by the submitting composer.
Scores diluted by the use of tracked themes or other preexisting music, diminished in impact by the predominant use of songs, or assembled from the music of more than one composer shall not be eligible.”
Admission, Stephen Trask
Ain’t Them Bodies Saints, Daniel Hart
[link...
- 12/12/2013
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Team Fyc highlights our favorite individual fringe Oscar contenders. Here's Philippe Ostiguy...
Last January, waves of chatter came rushing out of Sundance with glowing words for a little American drama that has steadily enchanted audiences since. Though it can’t be credited with much innovation, David Lowery’s Ain’t Them Bodies Saints is an old-fashioned tale of love and crime told with heart, eager to pay tribute to Americana pioneers. Though its sun-kissed cinematography and trio of lead performances by Rooney Mara, Ben Foster and Casey Affleck have been the main talking points, the film earns most of its magic by way of Daniel Hart’s musical contributions, at once delicate and tense, alert and dreaming.
Classically trained violinist Hart, who has released music under his own name as well as with his bands The Physics of Meaning and Dark Rooms, has little film experience: his only other scoring...
Last January, waves of chatter came rushing out of Sundance with glowing words for a little American drama that has steadily enchanted audiences since. Though it can’t be credited with much innovation, David Lowery’s Ain’t Them Bodies Saints is an old-fashioned tale of love and crime told with heart, eager to pay tribute to Americana pioneers. Though its sun-kissed cinematography and trio of lead performances by Rooney Mara, Ben Foster and Casey Affleck have been the main talking points, the film earns most of its magic by way of Daniel Hart’s musical contributions, at once delicate and tense, alert and dreaming.
Classically trained violinist Hart, who has released music under his own name as well as with his bands The Physics of Meaning and Dark Rooms, has little film experience: his only other scoring...
- 12/10/2013
- by GUEST CONTRIBUTOR
- FilmExperience
After gaining a lot of buzz at this year’s Sundance and Cannes film festivals, Neo-Western Ain’t Them Bodies Saints – the assured second feature from prolific film editor David Lowery – finally gets its UK release. Although working with familiar archetypes, excellent performances combined with some sumptuous visuals help distinguish this from similar fare.
Set against the backdrop of 1970’s Texas, Lowery’s latest begins where most Westerns end, with the outlaws – in this case impassioned couple Bob Muldoon (Casey Affleck) and his pregnant girlfriend Ruth Guthrie (Rooney Mara) – getting apprehended by lawmen after a shootout. In said duel, Ruth wounds Officer Patrick (Ben Foster) but Bob dutifully takes the blame. Four years later, Bob escapes from prison (at the sixth time of asking), and leisurely sets out to reunite with his former flame and their daughter Sylvie, who was born during his confinement. However, while Bob has been locked up,...
Set against the backdrop of 1970’s Texas, Lowery’s latest begins where most Westerns end, with the outlaws – in this case impassioned couple Bob Muldoon (Casey Affleck) and his pregnant girlfriend Ruth Guthrie (Rooney Mara) – getting apprehended by lawmen after a shootout. In said duel, Ruth wounds Officer Patrick (Ben Foster) but Bob dutifully takes the blame. Four years later, Bob escapes from prison (at the sixth time of asking), and leisurely sets out to reunite with his former flame and their daughter Sylvie, who was born during his confinement. However, while Bob has been locked up,...
- 9/6/2013
- by Amon Warmann
- HeyUGuys.co.uk
Chicago – Even if “Ain’t Them Bodies Saints” hadn’t premiered this year, snagging two Sundance awards in the process, 2013 would still be considered a landmark year for David Lowery.
He brought an arresting poetry to Shane Carruth’s “Upstream Color” and Amy Seimetz’s “Sun Don’t Shine” through his hypnotic, artfully nuanced ending. Now one of indie cinema’s most indispensable collaborators has helmed a major, star-studded feature of his own.
“Saints” unfolds in a melancholic haze, as an escaped Texas outlaw, Bob (Casey Affleck), struggles to reunite with his estranged love, Ruth (Rooney Mara), and their young daughter. Ben Foster steals scenes as a compassionate police officer who falls for Ruth, while Keith Carradine exudes animalistic force as Ruth’s father, hellbent on ensuring that Bob keeps as far away from his daughter as possible. The duet forged by Bradford Young’s gorgeous cinematography and Daniel Hart...
He brought an arresting poetry to Shane Carruth’s “Upstream Color” and Amy Seimetz’s “Sun Don’t Shine” through his hypnotic, artfully nuanced ending. Now one of indie cinema’s most indispensable collaborators has helmed a major, star-studded feature of his own.
“Saints” unfolds in a melancholic haze, as an escaped Texas outlaw, Bob (Casey Affleck), struggles to reunite with his estranged love, Ruth (Rooney Mara), and their young daughter. Ben Foster steals scenes as a compassionate police officer who falls for Ruth, while Keith Carradine exudes animalistic force as Ruth’s father, hellbent on ensuring that Bob keeps as far away from his daughter as possible. The duet forged by Bradford Young’s gorgeous cinematography and Daniel Hart...
- 8/27/2013
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
One film from the year's festival circuit so far that I'm particularly looking forward to revisiting is David Lowery's "Ain't Them Bodies Saints." That's partly because a first viewing afforded many rich textural pleasures -- from Bradford Young's dusky cinematography to Daniel Hart's inventive, handclap-heavy score -- that deserve to be savored in less pressured surroundings than a Sundance premiere, but also because the film has changed a little, and reportedly for the better. In my otherwise admiring review of Lowery's film, a kind of spiritual sequel to Terrence Malick's "Badlands," I voiced some concerns about its luxuriantly deliberate pacing: "[It]...
- 6/26/2013
- by Guy Lodge
- Hitfix
David Lowery's triumphant tale of estranged love is deftly paced, stunningly shot and benefits from some superb performances
Love's a cruel goddess. That's rarely been more true than in this tragedy of doomed passion. Set in Texas in the 1970s, it sets up a love triangle between Bob Muldoon, an idealistic robber, his wife Ruth, and a detective, Patrick. In a standoff with the police, Ruth shoots Patrick in the shoulder, but Bob takes the rap and goes to prison. Waiting loyally for him to come out, Ruth gives birth to Bob's daughter, Sylvie, and Patrick secretly falls in love with Ruth. When Bob escapes jail, a cat and mouse game develops between the outlaw Bob and the cop Patrick. Love, freedom and Sylvie are all at stake.
Director and writer David Lowery avoids every cliche from the action-thriller, romance and noir handbooks, transmitting a palpable sense of the...
Love's a cruel goddess. That's rarely been more true than in this tragedy of doomed passion. Set in Texas in the 1970s, it sets up a love triangle between Bob Muldoon, an idealistic robber, his wife Ruth, and a detective, Patrick. In a standoff with the police, Ruth shoots Patrick in the shoulder, but Bob takes the rap and goes to prison. Waiting loyally for him to come out, Ruth gives birth to Bob's daughter, Sylvie, and Patrick secretly falls in love with Ruth. When Bob escapes jail, a cat and mouse game develops between the outlaw Bob and the cop Patrick. Love, freedom and Sylvie are all at stake.
Director and writer David Lowery avoids every cliche from the action-thriller, romance and noir handbooks, transmitting a palpable sense of the...
- 1/25/2013
- by Sebastian Doggart
- The Guardian - Film News
Park City - There's something alluringly, disconcertingly off-kilter from the get-go in "Ain't Them Bodies Saints," an imposing third feature from editor-turned-filmmaker David Lowery, and it's not merely the quivery infighting of strings and handclaps in Daniel Hart's striking score: it's that the opening scene of this film is one that has closed so many others. Bob and Ruth, criminal lovers on the lam, are apprehended by the cops on dun-colored Texan terrain after a bloody shootout, A killing spree is ended, justice is served, the couple is parted, pledging devotion. The end. No, the beginning. From this point onwards, I...
- 1/21/2013
- by Guy Lodge
- Hitfix
St. Vincent has just announced that her third studio album is on its way to the market. According to a tweet posted on Annie Clark’s Twitter, the album will be called Strange Mercy and will be released on Sept. 13 in the U.S. According to Stereogum, the album was recorded in Elmwood Studios in Dallas, Texas and features Grammy winner Bobby Sparks on the mini Moog, clavinet and Wurlitzer. They are joined by McKenzie Smith from Midlake on drums, Daniel Hart on violin as well as Beck’s keyboardist and music director, Brian LeBarton. The album is will be the follow-up...
- 6/3/2011
- Pastemagazine.com
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