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Showing posts from February, 2016

Deadpool

I'm still trying to process why I like this film as much as I do. Part of me is screaming that it's my favorite of the Marvel films, handily displacing my previous champion, Guardians of the Galaxy. Meanwhile, another part is screaming that it's a fairly standard yarn, superhero or otherwise. I know, right? Confusing. Wade Wilson (Ryan Reynolds) is a gun for hire who, seemingly the day after he falls hopelessly in love, discovers he hasn't very long to live. The creepiest salesman on Earth (Jed Rees) convinces him to undergo a covert operation that will cure him while bringing out his innermost mutant. Naturally, creepy salesman has ulterior motives. NSFW language and violence ensues. On the big screen, Deadpool first showed up in one of those standalone Wolverine films. The film was terrible, Deadpool was terrible, with Reynolds doing the best he could with a horrible part. The fans howled and Reynolds, a serious fan of Deadpool, vowed revenge. Thus, Deadpool, this m…

John Williams

My favorite film composer of all time is Jerry Goldsmith. His music was always inventive, often challenging, and thoroughly engaging. It's a shame the Academy so seldom recognized his work, so let's discuss someone who the Academy has recognized and delivered a bevy of Oscars to, John Williams.

Williams' career is somewhat contemporaneous to Goldsmith's. Both started in television. That's where I first heard Williams' music, for Irwin Allen's Lost in Space. This relationship with Allen would lead to Williams composing the music for Allen's two greatest disaster films, The Poseidon Adventure and The Towering Inferno. Williams became the master of the disaster suite.

His music always struck me as almost startlingly different from other composers. Goldsmith could shock you with an inventive use of one instrument or another, but Williams would seduce you with lush melodies and rich harmonies. Listen to the track "Planting the Charges" from The Tow…