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My Old Addiction

Movie Reviews By Bil Antoniou

Tag: Marco Beltrami

June 21, 2019June 24, 2019

Velvet Buzzsaw (2019)

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May 29, 2019June 28, 2019

Long Shot (2019)

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May 24, 2019May 27, 2019

The Snowman (2017)

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May 12, 2019May 15, 2019

Free Solo (2018)

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April 25, 2018April 6, 2019

A Quiet Place (2018)

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January 18, 2018February 6, 2019

First They Killed My Father (2017)

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March 8, 2017August 17, 2019

Logan (2017)

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August 31, 2016August 12, 2019

Gods Of Egypt (2016)

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July 2, 2016February 22, 2019

The Shallows (2016)

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The Blonde One (Un Rubio) (2019)
Stonewall (2015)
Unstoppable (2010)
Avengers: Endgame (2019)
Boogie Nights (1997)
Inferno (1980)
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"No one ever wants to give up the mantle of being a Bond girl, and if they say they do, they're lying." - Jill St. John, born August 19, 1940. #JillStJohn

"This is an old family secret, and I just found this out recently, and it almost broke my heart. My mother said to me, "I had never told you this, but God, you were an ugly baby"." - John Stamos, born August 19, 1963. #JohnStamos

BEST MUSIC 1934: As one person wisely said, No one knows why movies have music, but few movies seem complete without it. Raul Julia, when presenting a music Oscar before his untimely death, noted that another wise person said that in a good movie, the musical score goes unnoticed ("I'm sure it wasn't the composer who said it," he added). Despite sound having been around for seven years, the Academy didn't initiate music categories until 1934; over the years it is the branch of Oscars that has altered the most, usually to accommodate the changes in the industry that have affected that aspect of filmmaking (most notably the popularity and eventual decline of musicals) and, oddly enough, it's also the category that has seen the most controversy involving rescinded nominations and disqualifications. In 1934, there were the two basic categories that we still have today: Best "Scoring" went to the delightful Grace Moore vehicle ONE NIGHT OF LOVE for LOUIS SILVERS as head of Columbia's music department, with music by GUS KAHN and VICTOR SCHERTZINGER, who was instrumental in the making of most of the best musicals of the thirties (and eventually directed his own, a terrific adaptation of The Mikado). Neither of them were cited at the ceremony as the prize went solely to the department. Kahn was also nominated that year for Best Song for "The Carioca" from Flying Down To Rio, and again in 1940 for "Waltzing In The Clouds" from Spring Parade. Schertzinger was also nominated for Best Directing for One Night Of Love. They both died in 1941. The Best Original Song Oscar, a necessity considering the increasing number of musicals being made with memorable songs, went to the charming "The Continental" from the Astaire-Rogers vehicle THE GAY DIVORCEE, music by CON CONRAD and lyrics by HERB MAGIDSON. Conrad died in 1938, Magidson was also nominated for "Say A Pray'r For The Boys Over There" from Hers To Hold (1943) and "I'll Buy That Dream" from Sing Your Way Home (1945) and died in 1986. MyOldAddiction.com #AcademyAwards #Oscars #Music #Scoring #Musical #GingerRogers #FredAstaire #GraceMoore #GayDivorcee

Today's review on MyOldAddiction.com, The 5000 Fingers of Dr. T by #RoyRowland, written by #DrSeuss, "The whimsy of the story is at odds with its execution"

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