Tag Archives: Jurassic Park

February 19, 2013

Lincoln (2012) – John Williams

By TheCinescopePodcast

Long-time Spielberg collaborator John Williams has a history of composing some of the most iconic scores in film history; Star Wars, Raiders of the Lost Ark, Jaws, Superman, E.T. the Extra-Terrestrial, Jurassic Park, and Harry Potter and the Sorcerer’s Stone were all brought to life by his incredible music. In his old age, Williams has slowed down a bit, but his scores to the 2011 films War Horse and The Adventures of Tintin were just as excellent as always. With War Horse, he took a more minimal approach than he typically has in the past, relying on gorgeous strings and warm brass to bring a feeling of intimacy to the film that fit the tone of the film. He uses this same approach with Lincoln, and the result is breathtaking.

The music in Lincoln perfectly embodies the American spirit. There is grandeur, there is majesty, there is conflict and resolution, there is emotion…Williams has captured it all. Much of this album is more solo-oriented, which helps with that intimacy that I mentioned before. The first track, “The People’s House,” opens with a single clarinet melody, low and calm, evoking visions of long hours spent in the Oval Office making decisions for the better of the country. Throughout the soundtrack, we are treated to solos from clarinet (“The People’s House,” “Equality Under the Law”), trumpet (“The Purpose of the Amendment,” “The American Process”), horn (“The Southern Delegation and the Dream,” “Father and Son”), and piano (“The Blue and Grey,” “Remembering Willie”). Each solo instrument brings forth a different emotion, enabling Williams to exploit these associations to accentuate the feelings in a particular scene. These emotions are made even more powerful once the solo instrument is joined by the full orchestra; the strings bring a warmth that reminds me of family and responsibility.

“The Blue and Grey” (obviously referring to the uniform of the Confederate Army) is a somber sort of track that hints at the tension between the Union and the Confederacy, while “With Malice Toward None” conveys Lincoln’s sense of duty to his country. “Father and Son” goes on to highlight Lincoln’s tentative relationship with his son in the midst of his presidential responsibilities, a sentiment that is continued in “Remembering Willie,” a terribly emotional track that echoes the grief felt by a distraught mother and her empathetic husband. “Appomattox, April 9, 1865” captures a grand moment in history with the timidity appropriate for such a solemn occasion, and it also expertly uses a choir to represent the almost spiritual element of the occasion.

Just on a quick aside, there is a short motive heard throughout the film that sounds nearly identical to a similar motive from Randy Newman’s score to the Disney/Pixar film A Bug’s Life. Compare this from “The American Process” to this excerpt from “Flik Leaves” on the soundtrack album for A Bug’s Life. Also, considering the fact that Abraham Lincoln is buried in Illinois, I thought it to be a nice touch that this score was appropriately recorded by the Chicago Symphony Orchestra.

I could go on and on and on some more about this soundtrack, but I digress. It should be obvious that I think quite highly of Mr. Williams and his music for Lincoln. I think that it perfectly represents all of the complicated aspects of one of America’s most celebrated presidents: his dedication to his country, his love for his family, his moral dilemma in doing the right thing. John Williams’ score to Lincoln is film scoring at its very finest, proving that, even at 83, he’s still got it.

Rating: 5 (out of 5)

1. “The People’s House” 3:43
2. “The Purpose of the Amendment” 3:07
3. “Getting Out the Vote” 2:49
4. “The American Process” 3:57
5. “The Blue and Grey” 3:00
6. “With Malice Toward None” 1:51
7. “Call to Muster and Battle Cry of Freedom” 2:17
8. “The Southern Delegation and the Dream” 4:43
9. “Father and Son” 1:42
10. “The Race to the House” 2:42
11. “Equality Under the Law” 3:12
12. “Freedom’s Call” 6:08
13. “Elegy” 2:35
14. “Remembering Willie” 1:51
15. “Appomattox, April 9, 1865” 2:38
16. “The Peterson House and Finale” 11:00
17. “With Malice Toward None (Piano Solo)” 1:31

Total Length: app. 59 min.

iTunes Album Link

-Chad

P.S. – Read my review of this film here!

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February 19, 2013

Frankenweenie (2012)

By TheCinescopePodcast

I was sick of Tim Burton’s Frankenweenie before I ever saw it. The trailer was attached to nearly every film I saw in theaters over the summer, driving it into my head to the point that I would change the television channel whenever the trailer popped up during commercial breaks. I’m not traditionally a huge Burton fan, though I certainly enjoy films like 1989’s Batman and 1993’s The Nightmare Before Christmas (story by Burton, also produced by him, but directed by Henry Selick), and this just wasn’t a film that was on my must-see list. With the approach of the Academy Awards, though, and with Frankenweenie‘s nomination for Best Animated Feature, I finally got a hold of a copy of the film on Blu-Ray and watched through…and I was impressed.

Frankenweenie is based on the live-action short film of the same name from 1984, also directed by Burton, and is about a boy (Charlie Tahan) whose only friend is his dog, Sparky. When Sparky is hit by a car and killed, the boy is understandably devastated…oh, and I forgot to mention that the boy’s name is Victor Frankenstein (hint hint). Victor sets out to bring his beloved best friend back to life and succeeds. Everything is right with the world until the word gets out that Victor has brought back his dog from the dead, and, suddenly, everyone wants in on it. Chaos ensues!

The close bond shared between Victor and Sparky is made very clear from the start of the film, making Sparky’s untimely death all the more devastating, but it also makes it that much rewarding when Victor succeeds in bringing him back to life. Victor’s character arc is a strong one, as he realizes that re-animating the dead is not necessarily the best option and that sometimes it is necessary to let go of the ones that you love – a lesson that we all learn at some point in our lives, whether it’s with a pet or with a friend or family member. Themes such as the strength of friendship and love, persistence, the implications of science, letting go, and family expectation are all addressed throughout the film, making it a sort of educational experience without it ever feeling like preaching.

Where Frankenweenie succeeds the most, however, is in its references to classic horror films – plus a reference to Burgermeister Meisterburger from the 1970 stop-motion Rankin/Bass film Santa Claus is Comin’ to Town. While watching, I found references or allusions to the following horror films or actors: Frankenstein, Bride of Frankenstein, Vincent Price, Jurassic Park, Gremlins, Dracula, Psycho and Godzilla…and I know that there have to be even more than that; I’m not as well-versed in classic horror films as I would like to be. It’s really quite impressive to see so many films referenced in one.

One of the most interesting aspects of this movie is that it is presented in black and white, likening itself back to the typical horror films found in the 1930s-1950s. The lack of color gives the classic sort of “Burton-esque” feel a refreshing new twist, deviating from the vibrant colors and extravagant set designs from more recent Burton films such as Charlie and the Chocolate Factory or Alice in Wonderland. The stop-motion animation is seamless, never feeling like a stop-motion film. 

I was quite prepared to dislike this film…it just didn’t seem to be my cup of tea, but Frankenweenie impresses on both technical and narrative grounds. The voice acting (from actors such as Martin Short, Martin Landau, Winona Ryder, and Catherine O’Hara) is top-notch throughout, and the story is both endearing and slightly disturbing. In my opinion, this is Burton’s best film in some time. Even Danny Elfman’s score is refreshing atypical of his usual work, managing to be more intimate than bombastic (for once). Will Frankenweenie win the Academy Award? It might…but we’ll see.

-Chad

Rating: 4.5 (out of 5)

MPAA: PG-13 – for thematic elements, scary images and action

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August 2, 2012

Space Jam (1996)

By TheCinescopePodcast

I was only 4 years old when Space Jam was released in theaters, so I don’t remember seeing it for the first time, but I do remember times spent watching it on VHS as a child. Looking back on it now, the film still has the same fun and charm that it had upon its initial release 16 years ago (my goodness…has it really been that long?!), but I’ve come to realize that it’s far from what could be considered an “excellent” film.

First, the good: for the most part, Michael Jordan does a great job and is pretty likable. Though he’s certainly not an Oscar-worthy actor, he holds his own, doesn’t try too hard, and entertains us. Seeing him alongside Bugs Bunny and the other Looney Tunes characters is amusing because their cartoon-y rules now apply to him and to any other humans who make appearances in their world; throughout the film, we see humans getting sucked through holes like a drink through a straw, squashed flat against the ground, and stretched in ways that only cartoon characters can. The Monstars – the aliens who threaten to enslave the Looney Tunes – have some funny moments as well, such as when they are fooled by Bugs into thinking that there are rules that they have to follow before they can kidnap anyone. Perhaps my favorite moment in the film is when Bill Murray shows up at the game and the Monstars’ boss says, “I didn’t know Dan Aykroyd was in this picture!” (a Ghostbusters reference, for those of you who needed help) There are several laugh-worthy jokes, including jibes at Michael Jordan’s actual career (“I’m a baseball player now!” “Right…and I’m a Shakespearean actor.”), and the second half of the basketball game is the best part of the movie.

However, the plot is just awful. While “cartoon characters kidnap a former basketball star to aid in defeating aliens in a basketball game that decides their fate” may work for kids, it’s an incredibly ridiculous premise. While some may argue that it’s allowed to be ridiculous because it has cartoon characters and humans interacting with each other, I’d like to point out that Who Framed Roger Rabbit and Mary Poppins before it did the same thing in a hugely successful way without having terrible story lines. Another problem I had with the film was the inclusion of Wayne Knight (Jurassic Park), who plays Jordan’s bumbling publicist/assistant, serving no purpose other than to provide some physical comedy. If his character had been excluded from the film, it would have made it that much better.

Fortunately, Michael Jordan acts with an ease that overcomes much of the film’s downfalls, interacting well with these animated characters – an impressive feat for a non-actor, especially when you realize that, from the moment he enters Looney Tune Land, he is almost completely on his own…cartoon characters aren’t added in until after the scene is filmed. For me, it’s the combination of Jordan and the nostalgic memories watching this as a child that makes this film worth the watch – despite the things that aren’t so great. Space Jam might not appeal to adults, but kids will love it, and – who knows? – maybe even the kid in you will like it too.

-Chad

Rating: 3 (out of 5)

MPAA: PG – for some mild cartoon language

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