One of the most disappointing elements of The Bourne Legacy was its score (Germain was a fan of the film overall, but I was not). John Powell had created such a rich, unique sound in the first three Bourne films and it was sad for me to see James Newton Howard deliver a lackluster soundtrack (and even more sad that that was probably one of the least of the film’s problems).
I decided to take a look back and see if the scores still held up. Below the jump, you’ll find a brief audio retrospective on John Powell’s work in this series of films. Questions/comments/agreements/disagreements? Leave them below or shoot me an email at slashfilmcast(AT)gmail.com.
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Posted on Friday, February 27th, 2009 by David Chen
In this special episode of the /Filmcast, Dan Trachtenberg from The Totally Rad Show joins David Chen to geek out about their favorite soundtracks. To listen to all of the songs that Dan mentioned during this episode in their entirety, click here to go to Grooveshark. To listen to all of the songs that Dave Chen mentioned during this episode, click here.
Like what you hear? Want to hear similar episodes in the future? Send feedback to slashfilmcast(AT)gmail(DOT)com or call and leave a voicemail at 781-583-1993. One correction to note: the last track that is played, “Fantasia on a Theme By Thomas Tallis” was composed by Ralph Vaughn Williams. Eugene Ormany, who we mention, conducts the orchestral performance.
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Update: Some people have reported experiencing audio problems with this sound file. Please try downloading the file to your computer, rather than playing it in your browser. That should fix the problem (If it does not, shoot me an e-mail or leave a comment below). Thanks!
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What if movie posters were more honest? What if the theatrical one-sheet wasn’t filled with floating heads of the main stars, but instead featured all the brand tie-ins and product placements up-front?
The Antrepo Design team created a set of vancas posts which are just that. I somehow doubt Hollywood will pick up on this concept.
Now if only they would’ve created a poster for Michael Bay’s The Island… Although for that film, I have a feeling that all the product tie-ins wouldn’t be able to fit on one normal sized poster.
I love to hate Bill O’Reilly. According to the man, my whole city should fall into the ocean, and The Simpsons Movie is “more realistic” than The Bourne Ultimatum. Yes, he actually wrote that. In his latest column titled The Bourne Buffoonery, Reilly calls out the film for being unpatriotic.
“I knew this movie was trouble when I read the reviews. Almost all the critics liked it. The only way American movie critics would like a violent car chase film like this was if it bashed the USA, which, of course, it does,” wrote Reilly.
I was going to print a listing of all the chase movies or car chase films that made lots of money at the box office without bashing America. But I’ve decided that Reilly’s statement is so ridiculous that it isn’t really worth rebutting (which is often the case with most of O’Reilly’s statements).
“In the Bourne movie there are no shotguns to frighten Julia, but plenty of automatic weapons fired at U.S. intelligence agents, not by al Qaeda, but by American Matt Damon. As the casualty count rose, I kept thinking about all those disability payments we taxpayers would have to pick up,” writes O’Reilly. “[Paul] Greengrass has used his skills as a filmmaker to create a slick propaganda package that will make him millions of dollars. And standing between Mr. Greengrass and real life terrorists who would slit his throat are, of course, real life American intelligence people. In the end, the America-haters will love The Bourne Ultimatum and apolitical others may enjoy the action and carnage. The movie is a perfect storm of misguided ideology, silly plotting, and absurd conclusions. In other words, it’s a blockbuster.”
You can read O’Reilly’s full review at this link, or post a comment below.
Universal’s The Bourne Ultimatum grabbed $25.5M on Friday, which should translate to a staggering $72M opening weekend. That’s easily the best opening in the franchise, topping The Bourne Identity‘s $27.1M and The Bourne Supremacy‘s $52.5M. This also marks the best opening weekend of Matt Damon’s career.
Last week’s big winner The Simpsons Movie is taking a larger than expected drop after a meteoric $102.9M in its opening 7 days. The big screen version of Fox’s long-running series has added an estimated $8M on Friday, but the animated flick is headed for only $25M or so for the weekend, which is a massive 66% drop from its opening. Disney’s Underdog, which wasn’t screened for critics, is a surprise third with $4.1M on Friday, and, with a big Saturday and Sunday kiddie bounce, it should have $12.1M banked by Monday morning. I Now Pronounce You Chuck & Larry is a solid 4th with $3.3M today and an estimated $10.6M for the weekend.
Hot Rod and Bratz have both tanked. The Andy Samberg comedy from SNL producer Lorne Michaels stumbled out of the gates with only $2M, and it will manage only a meager $5.1M for the 3-day. Bratz, geared for preteen girls, could only drum up $1.75M to start the weekend, and it will finish the weekend with an estimated $4.4M.
Among limited releases, the Jennifer Lopez-produced El Cantante has a PTA of $1,600 or so, which gives it an estimated $850,000 on 542 screens. This biopic about salsa king Hector Lavoe should finish the weekend with something in the $2.5M range. Also scoring well was Becoming Jane starring Anne Hathaway with an average of just over $3,000 on its 100 screens and an estimated $310,000. This Jane Austen biopic will likely bank about $1.1M during its opening 3-day with an aggressive expansion set for next weekend.
You can read more in-depth box office coverage at FantasyMoguls.com.
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In The Bourne Ultimatum, Jason Bourne will conclude his journey to find the answers to his mysterious past. While the answers yielded may not be enough for even the simplest of viewers, the action sequences are sure to keep you glued to the big screen. During one car chase sequence I found myself literally on the edge of my seat grasping the armrests. Paul Greengrass creates some amazing artfully shot intense action sequences of the likes that have never been seen before. Julia Stiles has her most interesting turn yet. Greengrass shot New York City like he has with the foreign countries in the rest of the series. This is a New York City you have never seen before on film.
Some people may feel that the ending is too neatly wrapped up, especially for a film series which is identified for it’s misanthropic realism. I was angered that Universal had spoiled so much of the movie in the movie trailer and poster advertising. The United States portion of the film is just the third act of this film, and that great “office” moment shown in the trailers is very close to the film’s finale.
/Film Rating: 7.5 out of 10
Â In a summer full of big blockbuster movies, adaptations, sequels and threequels, you would think that Hollywood would have made some record scratch. Not so! According to the AP, attendance is running behind last summer’s and has even fallen below that of the summer of 2005. According to Media By Numbers, 279 million tickets had been sold thus far compared with 315 million at this same point in 2002.Â But this is not what was supposed to happen. Industry analysts predicted the first $4 billion summer in history,Â but we’re at the midway point and it’s not looking probable. As of this past weekend, Hollywood has made $1.9 billion since the first weekend in May. And $945 million of that number comes from just three movies (Pirates 3, Spider-Man 3, and Shrek the Third).
And there are a few biggies waiting in the bull pen: Harry Potter and the Order of the Phoenix, The Bourne Ultimatum, Rush Hour 3, I Now Pronounce You Chuck and Larry, The Simpsons Movie and Hairspray. But as you might notice, most of them are medium sized majors, not on the same level with a Spider-Man 3. Potter is likely to make $300 million domestically, but the rest probably won’t come close.
May-be the problem is that none of the huge releases really connected with the audiences. Most of the films resulted with bad reviews and bad word of mouth. And the good flicks (Ratatouille, Once, Sicko) got buried in the mix.
Cinematical has posted this new poster for The Bourne Ultimatum. I don’t know about you, but I prefer the new international black and white posters or the original teaser one-sheet. This new poster seems too stock. Check it out after the jump.Â Read More »
The International teaser trailer for The Bourne Ultimatum (poster) is now online. While the new trailer doesn’t reveal/show much, but one can’t argue that it’s not intense.
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