For a movie or show to be nominated for Best Score at the Oscars or Tony (or any other offshoot) Awards, the music written for it must be predominantly original.
Category: Remember All the Movies, Terry, We’d Go See
THE LEISURE SEEKER (Paolo Virzì)
The Leisure Seeker is tonally all over the place, and none of those places work, mostly because, as executed, they’re not particularly believable.
JOURNEY’S END (Saul Dibb)
R.C. Sherriff’s 1928 play Journey’s End is to the stage what the 1930 film All Quiet on the Western Front is to the screen.
THE PARTY (Sally Potter)
Even though The Party isn’t technically based on a play, this new movie exhibits both the best and worst attributes of stage-to-screen adaptations.
7 DAYS IN ENTEBBE (José Padilha)
7 Days in Entebbe is to political thrillers what fellow 2018 releases 12 Strong is to war movies and what Den of Thieves is to cops-and-robbers yarns.
THOROUGHBREDS (Cory Finley)
Thoroughbreds is mostly an exercise in style, but there’s some substance there too.
KILLER LEGO(las)
It was just announced that Orlando Bloom will star as the title character in a London revival of Tracy Letts’ 1993 play Killer Joe.
LOVE, SIMON (Greg Berlanti)
Love, Simon’s soundtrack provides a window into where the movie comes up short.
A Tale of Two Animated Animals
The best reason to see Peter Rabbit is to realize the difficulty of what the similar Paddington series achieves.
TOMB RAIDER (Roar Uthaug)
An action movie without a distinct personality is one thing, but having no personality at all?
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