I’d start this review off with a pithy quip about the evils of wall-to-wall scoring, but there are plenty of examples that I really like, including recent ones such as Oppenheimer and Across the Spider-Verse (one could say that this […]
Fresh off of scoring Evil Does Not Exist, composer Eiko Ishibashi joins The Film Scorer podcast! Evil Does Not Exist is Eiko’s second collaboration with acclaimed director Ryusuke Hamaguchi, and the film itself actually stemmed from Eiko approaching Ryusuke regarding providing […]
Author’s Note: I received this record as a promotional copy from Microids Records for the purpose of review. The opinions and thoughts shared are completely my own, with no expectations from the distributor. I also want to acknowledge the recent […]
Tough-talking dirty cops, back-channel deals, bursts of bloody violence, and a wonky Mediterranean interpolation of Eric Satie’s “Gnossienne No. 1,” played on what might be a bouzouki. Nope, that combination doesn’t sound any less strange written out. It’s as impressive […]
House joins the surprisingly short list of films that features a film composer among its characters. Unfortunately, although this character (simply called “Father”) is said by an unnamed Italian director to be better than Morricone, he plays a minor role. […]
Japanese film Drive My Car became a surprise critical hit, not just garnering seemingly out-of-nowhere acclaim but even notching four Academy Award nominations, including a win for Best International Feature Film. Oddly absent from most of this attention was Eiko […]
Seijun Suzuki is one of film’s most stylish directors. Nowhere is this more apparent than in his magnum opus Tokyo Drifter, where Suzuki’s bombastic and bizarre indulgences flow unimpeded. Rather than try to balance this out, prolific composer Hajime Kaburagi […]
Outside of Japan, Godzilla is somewhat of a joke. This is largely due to the historical relevance missing from every other country: Hiroshima, Nagasaki, and, more recently, Fukushima. Shin Godzilla is perhaps the most realistic, agonizing version of this nuclear […]
The history and study of film music is largely a European and American centric one. Even today, most Western audiences are only familiar with composers from these two areas, largely ignoring the film music produced throughout the rest of the […]