Though it may seem that way, Spring and Summer aren’t the only release seasons for “high octane” action-packed crime thrillers. And this new mid-February release proves it. It’s packed with cops, gun-wielding “robbers”, and roaring car chases through congested Los Angeles. Yes, it’s very “street-level,” which is a big “change of venue” since the three main leads are multi-film Marvel Cinematic Universe vets, so no powers, just keen skills. And, no, it’s not about them passing on their talents to eager college students in big lecture halls. The triple numbers in the title refer to a very busy California freeway, which is the “route” favored by the main criminal, hence its moniker, CRIME 101.
The story starts in the pre-dawn hours as the three principals begin their “prep” for the day. Sharon Combs (Halle Berry) applies her make-up (almost like “war paint”) to charm another rich jerk into signing an insurance contract with her prestigious “protection” firm. Groggy police detective Lou (Mark Ruffalo) stumbles about in the dark until he begins his bathroom “constitutional” while scrolling the online news concerning another jewelry courier hijacking. And finally, there’s Mike (Chris Hemsworth), who scrubs every loose bit of skin and hair off his body before donning his work attire: crisp white shirt, black suit with tie, and a gun. Using some spiffy high-tech gizmos, he intercepts a big diamond transfer from a grungy downtown shop to swanky Beverly Hills. Mike always displays his weapon, but never fires, as he tries to grab the goods without gunplay. But this morning is different when he nearly takes a bullet. It’s his “come to Jesus” moment, contemplating his future while making an almost clean getaway. Soon, Lou is called in with his partner Tllman (Corey Hawkins) to comb the crime scene. Later, Lou will present his theory on a lone hijacker making hits along the 101 freeway to an uninterested squadroom (and a “by-the-books” captain). As for Sharon, she almost “seals the deal” with the wealthy client, then heads to the office for a staff meeting where she’s assigned that same robbery, while her morning “gig” is handed off to the newly-hired, much younger saleslady. Oh, and the higher-ups tell Sharon that they need to table her promotion request (“Let’s put a pin in it”). As the “heat” starts to die down, Mike makes the “ice” tranfer to his long-time connection/ fence Money (Nick Nolte). They discuss the unplanned gunplay during the last job, with Mike stating that he wants “out” after the next score. Money then meets with another “staffer”, Ormon (Barry Keoghan), a violent biker with a hair-trigger. Money thinks Mike has lost his “nerve” and assigns that next job to him. Plus Money thinks that Mike is planning his own “big score” and orders Ormon to tail him and scoop up the “spoils”. He’s right, as Mike’s “side project” before he “gets out of the game” will involve Sharon, and eventually Lou and the deranged Omron. Could this truly be Mike’s “last score”, in more ways than one?
Well, this is quite a dramatic turn from the main trio’s heroic roles in the MCU. The story’s real center is the mysterious Mike (if that is his real name) played with heavy gravitas by Hemsworth. There’s nothing of the affable “thunder god” to be found in the somber, stoic “soldier thief” as his pre-job ritual is almost like donning a uniform before battle. With his clipped delivery and downturned eyes. Hemsworth conveys that Mike is not only on the run from the law, but he’s trying to escape his troubled past. We do get a glimpse of his vulnerability and his yearning for human connection through his blossoming romance with Maya, played by the talented Monica Barbaro (superb as Joan Baez in A COMPLETE UNKNOWN). She’s trying to pierce his protective hide, but Mike can’t doff his emotional armor. His “Javert”, Lou has his own internal conflicts. Ruffalo tones down his usual superior intellectual persona to convey the “working stiff” quality of this beaten-down “seen it all” cop, who, like Mike, also has a yearning to break free of his dodrums that have inspired too many bad habits (smoking, boozing, being out of shape), and feeling the need to start anew after an unexpected end to his marriage. Unfortunately, we only see his wife in a diner break-up scene, so the talented Jennifer Jason-Leigh is woefully underutilized (maybe much of her work is on the cutting-room floor). What a pleasure to see Ms. Berry again, here using her acting skills to give us a seasoned professional (her maturity factors in quite a lot) who is a cog caught in the gears of a greedy, chauvinistic machine that seems to delight in squandering her spirit until she’s pushed aside for a shiny, new model. Berry shows the sparkle in her eyes when a chance to break out of the “boys club” appears as a way to end her frustration. The film’s real “wild card” is Keoghan, who makes Ormon an unpredictable demon of destruction, a devil in punk-ish bleached-blonde hair. Nolte is settling into these veteran character roles well, as he croaks out sinister threats and orders. Hawkins is very good as Lou’s cynical buddy partner, who wants to avoid his career path. And this serious tone is lightened a touch by the comedic performance of Tate Donovan as the “too much dough for his own good” millionaire “mark”.
They’re all directed by Bart Layton, who also adapted the Don Winslow novella, though it feels like this is from a weightier tome. Maybe that’s due to the pacing problems, which contribute to it needing a good twenty-minute trim. There are too many little subplots that don’t really contribute much, especially as Lou deals with lots of either disinterested or downright dirty cops right out of SERPICO-style flicks. And the whole crumbling-marriage asides feel distracting from the cat-and-mouse action sequences. And they are pretty solid as Mike zips his sleek cars (especially a cherry green classic Mustang) all around day and night LA (the latter is a great backdrop for a pursuit of cycle-soaring Ormon). Luckily, this superb trio of actors keeps our interest high even as the end results fail to emulate (and it really tries) the cool caper crime flicks like THIEF, HEAT, and DRIVE (and maybe BABY DRIVER, too). So, all the fans of furious, fast auto exploits will get their adrenaline fix before the big Summer action blockbusters, but their patience and endurance will be sorely tested by the fuzzy, meandering of the many detours of the slickly made (the familiar LA locations are given a high-gloss sheen) CRIME 101.
Set against the sun-bleached grit of Los Angeles, Crime 101 weaves the tale of an elusive jewel thief (Chris Hemsworth) whose string of heists along the 101 freeway have mystified police. When he eyes the score of a lifetime, his path crosses that of a disillusioned insurance broker (Halle Berry) who is facing her own crossroads. Convinced he has found a pattern, a relentless detective (Mark Ruffalo) is closing in, raising the stakes even higher. As the heist approaches, the line between hunter and hunted begins to blur, and all three are faced with life-defining choices – and the realization that there can be no turning back.
Adapted from Don Winslow’s acclaimed novella of the same name, the film is written and directed by Bart Layton (American Animals, The Imposter). Barry Keoghan, Monica Barbaro, Corey Hawkins, Jennifer Jason Leigh, and Nick Nolte round out the cast.
Chris Hemsworth (Orion Pax/Optimus Prime) Courtesy of Paramount Pictures
TRANSFORMERS ONE, the first animated theatrical feature since 1986’s THE TRANSFORMERS: THE MOVIE and a new look into the Transformers universe, catapults audiences back millions of years to the beloved behemoths’ home planet of Cybertron to reveal the origins of Optimus Prime, supreme leader of the heroic Autobots, and his nemesis Megatron, the diabolical commander of the Decepticon forces.
In 2007, the release of Michael Bay’s Oscar-nominated, live-action TRANSFORMERS stormed the global box office with its electrifying depiction of warrior robots battling for dominance on Earth. Inspired by the unprecedented success of Hasbro’s groundbreaking line of transforming toys, the film became a global phenomenon, spawning six more record-breaking films over the next 17 years. The new film shows us who Optimus and Megatron were before the wars and it lets us see Cybertron in total for the first time.
Long before the Transformers bots dreamed of escaping their dying planet for Earth, Cybertron has focused on mining the precious Energon that fuels all life no longer flows freely. The original Primes have been slaughtered in a war with the ruthless Quintessons. In subterranean Iacon City, elite Transformers bots live in luxury, while cog-less, non-transforming bots work tirelessly, digging for dwindling Energon reserves.
As the movie begins, the audience meets Orion Pax and D-16, a pair of lowly worker bots in the Energon mines deep within Cybertron. They are on the verge of a journey that takes them from being the best of friends to the bitterest of enemies. It is a classic tale, echoing powerful stories from the past, even as far back as the Bible’s Cain and Abel. Against this backdrop, ambitious mining bot Orion Pax risks everything in an effort to retrieve the long-lost Matrix of Leadership, a talisman of great power he believes will restart the flow of Energon. Along with fellow workers D-16, Elita-1 and B-127 (aka Bumblebee), Orion travels to the forbidden surface of Cybertron and discovers a breathtaking landscape – as well as a shocking conspiracy that extends into the highest levels of Transformer life.
Directed by Oscar winner Josh Cooley (TOY STORY 4), TRANSFORMERS ONE’s groundbreaking animation and innovative designs introduce a new level of cinematic artistry to the franchise and ups the stakes on the original live-action films. Cooley truly connects the audience with the characters emotionally by exploring the personal hopes and dreams of the alien robots.
TRANSFORMERS ONE’s terrific voice cast is led by Chris Hemsworth. In each previous iteration of the Transformers franchise, the voice of Optimus Prime, the stoic, heroic leader of the Autobots, has been provided by actor Peter Cullen. His silken growl has become synonymous with the character – until now – and Hemsworth steps into the role of Orion Pax, (aka Optimus Prime), with a natural ease. He had some big shoes to fill and he really honors Cullen’s previous work. Hemsworth even gives fans the line “Transform and Roll Out!”
Brian Tyree Henry plays D-16, aka Megatron, one of the greatest arch-nemeses of all time in the Transformers pantheon. He’s extremely likable at first and the opposite to Orion Pax’s rule breaker. He’s not a bad guy from the beginning. D-16 is a scrappy, smart, hard worker who follows the rules and hates injustice. He aspires to be more, but he’s not going to cross any lines. When he realizes that everything he thinks he knows is a lie, the disillusionment changes him.
Keegan-Michael Key (B-127, Bumblebee)
With a story by Andrew Barrer & Gabriel Ferrari and a screenplay by Eric Pearson and Andrew Barrer & Gabriel Ferrari, the funniest dialogue comes from Keegan-Michael Key who plays B-127 (AKA Bumblebee) who has been a mostly silent character in other chapters of the stories. He never stops talking and is constantly referring to himself as “Bad-Ass-atron”. The perfect partner for Bumblebee is Elita-1, a mining manager who takes no guff from anybody. Voiced by Scarlett Johansson, Elita-1 is an initially unwilling participant on the journey to the surface of Cybertron. She can barely wait to get back to Iacon City and turn the rest of the party into the authorities. Elita-1 is a central character in this sumptuous movie and a great opportunity for the filmmakers to create an authentic female Transformer.
L-r, Brian Tyree Henry (D-16/Megatron), Scarlett Johansson (Elita-1), Chris Hemsworth (Orion Pax/Optimus Prime) and Keegan-Michael Key (B-127)
The cast also features a trio of actors in pivotal roles, including Jon Hamm as Sentinel Prime, the leader of Iacon City. Since the loss of his brothers, he has diligently but fruitlessly searched for the Matrix of Leadership. Hamm brings the character a heroic air, as well as some comical pomposity as he postures for the adoring crowds. As Alpha Trion, a Transformer elder statesman believed to have died beside the Primes, Laurence Fishburne brings undeniable authority to his character as he tries to guide the four younger bots toward their goal. It’s heartbreaking to witness the betrayal and ultimate destruction of the Primes. Steve Buscemi also joins the cast as incipient Decepticon Starscream, bringing an unhinged, gonzo quality to the story. Fans will also be pleased to see Soundwave, Shockwave, Jazz and hear a reference to Ratchet as “Dr. Ratchet”.
L-r, Jon Bailey (Soundwave), Steve Buscemi (Starscream) and Jason Konopisos (Shockwave)
The artists behind the scenes Production Designer Jason Scheier, Cinematographer Christopher Batty, Editor Lynn Hobson, Art Director Gerald de Jesus, Visual Effects Supervisor Frazer Churchill and Animation Supervisors Rob Coleman and Stephen King, along with ILM give TRANSFORMERS ONE’s the most amazing action sequences which include the stunning Iacon 5000 road race, along with the final battle between Optimus Prime and Megatron. The Transformers’ home planet of Cybertron has only been glimpsed in snippets in the previous films and TRANSFORMERS ONE is set entirely in this mysterious world. The grandeur is a wonder to behold. It’s richly colorful and gorgeously lit, with beautiful landscapes, while also giving the audience a sense of metals and mechanics, as if Transformers designed it.
TRANSFORMERS ONE is a story of friendship and betrayal, of aspiring and overcoming and composer Brian Tyler’s score is filled with heartfelt and heroic melodies. He makes you feel like you’re in an Alien world. His unique cues for The Iacon 5000 race and final battle between Optimus Prime and Megatron, once friends, is both exhilarating and tragic, and much credit is to be given to the beautiful work done by the orchestra and musicians.
For fans of the live-action movies where the Autobots were focused solely on protecting humanity, this origin story is fun for everyone. It’s a story filled with emotion, humor, betrayal and giant fights. If you’re a fan, it delivers on what you’re hoping to get and if you’re not yet a fan, you’ll experience something that you probably didn’t think Transformers had in it. TRANSFORMERS ONE is the exhilarating adventure fans have been waiting decades to see and it’s one of the best films of 2024.
TRANSFORMERS ONE opens in theaters on September 20, 2024.
TRANSFORMERS ONE is the untold origin story of Optimus Prime and Megatron, better known as sworn enemies, but once were friends bonded like brothers who changed the fate of Cybertron forever. In the first-ever fully CG-animated Transformers movie, TRANSFORMERS ONE features a star-studded voice cast, including Chris Hemsworth, Brian Tyree Henry, Scarlett Johansson, Keegan-Michael Key, Steve Buscemi with Laurence Fishburne and Jon Hamm.
Quavo, Ty Dolla $ign, and ARE WE DREAMING (Composer – Brian Tyler) join forces on their new collaborative anthem, “If I Fall,” for Paramount Animation and Hasbro Entertainment’s upcoming motion picture TRANSFORMERS ONE. The three superstars build off one another’s resilient verses, vowing to “take no prisoners” and refusing to give up when the odds are stacked against them. “It’s in my bloodline; I have too much pride,” declares Quavo on the track.
Directed by Josh Cooley, TRANSFORMERS ONE is set to release September 20th.
The special screening is 11AM on Saturday, September 14th @ Marcus Ronnie’s Cine (10AM Suggested Arrival)
Please arrive early as seating is not guaranteed.
FOUR winners will each receive 4 passes to the screening.
“Transformers One” has been rated PG for sci-fi violence and animated action throughout, and language.
Bottom l-r clockwise, Keegan-Michael Key (B-127), Scarlett Johansson (Elita-1), Brian Tyree Henry (D-16), Chris Hemsworth (Orion Pax) star in PARAMOUNT ANIMATION and HASBRO Present In Association with NEW REPUBLIC PICTURES
A di BONAVENTURA PICTURES Production A TOM DESANTO / DON MURPHY Production
A BAY FILMS Production “TRANSFORMERS ONE”
L-r, Brian Tyree Henry (D-16), Keegan-Michael Key (B-127), Scarlett Johansson (Elita-1) and Chris Hemsworth (Orion Pax) star in PARAMOUNT ANIMATION and HASBRO Present In Association with NEW REPUBLIC PICTURES
A di BONAVENTURA PICTURES Production A TOM DESANTO / DON MURPHY Production
A BAY FILMS Production “TRANSFORMERS ONE”
This morning, Paramount Pictures debuted from space the first trailer for TRANSFORMERS ONE. Check out the highlights.
TRANSFORMERS ONE is the untold origin story of Optimus Prime and Megatron, better known as sworn enemies, but once were friends bonded like brothers who changed the fate of Cybertron forever.
In the first-ever fully CG-animated Transformers movie, TRANSFORMERS ONE features a star-studded voice cast, including Chris Hemsworth, Brian Tyree Henry, Scarlett Johansson, Keegan-Michael Key, Steve Buscemi, with Laurence Fishburne, and Jon Hamm.
Directed by Josh Cooley (TOY STORY 4), here’s your first look at the trailer.
TRANSFORMERS ONE IS IN THEATRES SEPTEMBER 20, 2024.
On Thursday, Chris Hemsworth, Anya Taylor-Joy and director George Miller showed the crowd at CCXP the first trailer for FURIOSA : A MAD MAX SAGA.
Anya Taylor-Joy and Chris Hemsworth star in Academy Award-winning mastermind George Miller’s “Furiosa: A Mad Max Saga,” the much-anticipated return to the iconic dystopian world he created more than 30 years ago with the seminal “Mad Max” films. Miller now turns the page again with an all-new original, standalone action adventure that will reveal the origins of the powerhouse character from the multiple Oscar-winning global smash “Mad Max: Fury Road.” The new feature from Warner Bros. Pictures and Village Roadshow Pictures is produced by Miller and his longtime partner, Oscar-nominated producer Doug Mitchell (“Mad Max: Fury Road,” “Babe”), under their Australian-based Kennedy Miller Mitchell banner.
As the world fell, young Furiosa is snatched from the Green Place of Many Mothers and falls into the hands of a great Biker Horde led by the Warlord Dementus. Sweeping through the Wasteland, they come across the Citadel presided over by The Immortan Joe. While the two Tyrants war for dominance, Furiosa must survive many trials as she puts together the means to find her way home.
Taylor-Joy stars in the title role, and along with Hemsworth, the film also stars Alyla Browne and Tom Burke.
Miller penned the script with “Mad Max: Fury Road” co-writer Nico Lathouris. Miller’s behind-the-scenes creative team includes first assistant director PJ Voeten and second unit director and stunt coordinator Guy Norris, director of photography Simon Duggan (“Hacksaw Ridge,” “The Great Gatsby”), composer Tom Holkenborg, sound designer Robert Mackenzie, editor Eliot Knapman, visual effects supervisor Andrew Jackson and colorist Eric Whipp. The team also includes other longtime collaborators: production designer Colin Gibson, editor Margaret Sixel, sound mixer Ben Osmo, costume designer Jenny Beavan and makeup designer Lesley Vanderwalt, each of whom won an Oscar for their work on “Mad Max: Fury Road.”
Warner Bros. Pictures Presents, in Association with Village Roadshow Pictures, A Kennedy Miller Mitchell Production, A George Miller Film, “Furiosa.” The film will be distributed worldwide by Warner Bros. Pictures, in theaters only nationwide on May 24, 2024 and internationally beginning on May 22, 2024.
Chris Hemsworth returns as Tyler Rake in EXTRACTION 2, the sequel to Netflix’s blockbuster action film EXTRACTION. After barely surviving the events of the first movie, Rake is back as the Australian black ops mercenary, tasked with another deadly mission: rescuing the battered family of a ruthless Georgian gangster from the prison where they are being held.
Hemsworth reunites with director Sam Hargrave, with Joe and Anthony Russo’s AGBO producing and Joe Russo writing. Golshifteh Farahani reprises her role from the first film, with Adam Bessa, Olga Kurylenko, Daniel Bernhardt and Tinatin Dalakishvili also co-starring.
The film hits Netflix on June 16.
This is a sequel to the first film that was based on the graphic novel ‘Ciudad’ by Ande Parks, from a story by Ande Parks, Joe Russo & Anthony Russo, with illustrations by Fernando León González. EXTRACTION 2 is produced by Anthony Russo, Joe Russo, Mike Larocca, Angela Russo-Otstot, Chris Hemsworth, Patrick Newall and Sam Hargrave, with Jake Aust, Benjamin Grayson, Steven Scavelli, Christopher Markus and Stephen McFeely as executive producers.
The film music is composed by Henry Jackman (Strange World, The Gray Man) and Alex Belcher (The Contractor, Citadel, Made In Italy, 21 Bridges).
We had the opportunity to speak with Alex Belcher prior to the movie’s release.
During our conversation with Belcher, we talked about his favorite scores, his admiration for Alan Silvestri, his score for EXTRACTION 2 and how Folk and Country music influenced his storytelling approach to composing for films.
WAMG: Hi, Alex. This is Michelle from We Are Movie Geeks. How are you?
Alex Belcher: I’m great. Thanks for asking.
WAMG: I was listening to the soundtrack again and it’s another amazing score. It has this old school immediacy about it like it was a film from the 1970s like FRENCH CONNECTION or TAKING OF THE PELHAM ONE TWO THREE. What was it like to return for another chapter?
AB: It’s a lot of fun. Anytime you’re working on a score, you’re always trying to be true to the genre, between the films, the sequel has to be true to the first one and what you did there. And for the second time, putting something new into it. When you’ve got a project like that, it makes the whole sort of process a lot of fun. You get to experiment.
You get to kind of take cues from the old world and then make them your own and modernize them a little bit.
WAMG: The film EXTRACTION 2, it’s another chapter in your life. It’s the continuation of the life of Tyler Rake so with some of your music cues, what made you choose the acoustics to convey that soundscape again?
AB: Well, on the first one we did EXTRACTION there was this idea of the character. I can’t remember if it was Sam or maybe Joe when he was given the script. I can’t remember preliminary conversation, they said something along the line he’s a guy, he’s an assassin and ge can kill someone with anything.
That idea just sort of stuck with me on the first one. So when I approached writing the music, it was like, okay, how would we do that with musical instruments? How can we sort of misappropriate or misuse something to get our end goal? Kind of like Rick would do. And on the first one, it was using a cello. Me playing a cello, which I’m not a cellist and then producing it, making it sound really weird and crazy and massive. For Extraction Two, I knew I wanted to do something similar because he’s still the same character but I didn’t want to basically just recycle or rehash what we’ve already done completely, so we started doing that with The Brothers and their theme, like using a viola and I played it again, not as a violist, but I played it with the wrong hand, like, flipped around again, this eerie sort of sound.
And then we used a bunch of maracas and all sorts of very small, intimate mandolins is another one. Small, intimate acoustic instruments that really put it right on the front of the speaker and made it very close and very sort of this quiet yet terrifying sort of sound which is what we thought the Zoro brothers were. They were quiet. They weren’t a very flamboyantly terrible force. They were just very quiet, very threatening, and we wanted the music sort of reflect that, so we used a lot of acoustic instruments to do it.
WAMG: And then on the flip side, you hear this beautiful, multi note, maybe four or five note piano ostinato through the film score. It’s so simple, but it’s lovely. It’s very ethereal and the adagio “Brave Like Dad” cue breaks the heart. I heard it in the first film. I was happy to hear it in the music cues and the tracks for this film. It’s kind of almost like his theme. Did you want to stick with that again?
AB: Yeah, we knew basically from early on, a lot of first film, it took place in Dhaka, so a lot of the music was buried. It wasn’t like, from that area, so we put the audience there. And we knew we couldn’t do that. Use the same sort of percussion and stuff that we did in the first one, because this one doesn’t take a place there. But that theme, when we originally wrote it, it was Rake’s theme.
And what we immediately found out was it actually doesn’t work as Rake’s theme as much as it works. It just became an idea, a theme for an idea. And so on the first CD, that theme is called Families and Laws, which was the first cue that we used it in, the first thing that we used it in. And so it really became a theme for family, for just the idea of family. And that worked really well because on the first one, we could use it for obi and like his relationship with his father, on this one, we could use it not only for Rake, for some of the other characters as well, and their experience with loss and family.
And so we knew that that could be a through line from the first one, musically, because it’s such a universal, like you said, it’s a pretty simple tune. I hope simple and effective, but it does that thing where it can tie stories and tie characters who might not otherwise be tied together. It can sort of act as a through line for all that.
WAMG: It was really effective, and it’s just one of the softer, quieter moments with both films, so I was really glad to see that again show up in this one. A few of the tracks with the orchestral instruments, as usual, but there’s like, a lot of synthesized sounds. And with those themes, did the director, Sam Hargrave, tell you what he was looking for beforehand, again, since you worked on the first film with him. Did he say, this is what I’m going for in this film?
AB: Yeah, we didn’t get into specific instrumentation things. But one of the things, and this is why Sam is such a great director, he’s got such talent with communicating, sort of his vision, is he didn’t make specific examples. I don’t want to use this instrument; I want to use this instrument. It was more of, you know, that thing we did on the first one. Can we do that but in such and such way? Can we do that for this film? And he would use very expressive sort of work to sort of describe what he was looking for, which was great for me because then I got to act as an artist and go, okay, he wants this feeling, and he’s referencing that feeling that we did on the first one. So how can I creatively give him that while at the same time doing something new? So a lot of the synthesized stuff is actually all born from organic materials that we recorded. A lot of percussion from a junkyard.
Breaking that and then just a lot of it we found the tape. Actually, I’ve got this old, really cheap, Akai reel to reel tape machine from the 70s. We bounced a lot of it to that, then brought it into the computer and then put even more processing on it to give it a little bit of a synth sound. So a lot of that and a lot of the action, what it is, is an organic sound, like an acoustic sound. It’s been so heavily processed, but I like doing it that way because then you still get this, yeah, it sounds like computer made it, but there’s something about it that’s still got a human touch on it, completely synthesized.
WAMG: And that’s why I like the blend of the music with these mechanized kinds of sound. There’s the blending of the orchestral instruments, but there’s an electric sound. Do you feel like that’s your signature sound?
AB: I honestly don’t know.
I think if you listen to something like the scores, like 21 BRIDGES, The Citadel, they sound completely different. I did a film called MADE IN ITALY, and it’s kind of like a family. Not a romantic comedy, but a dramedy. And I think that through line through all of those, my signature sound was it’s more coming from a storytelling perspective. I think if you could pull anything out of my music, it’s more that I try to be another filmmaker in the room to help the director tell the story.
I focus more on story than necessarily having a sound that I get hired to do for film. It’s like what I really like is getting brought onto a project, and the Russo Brothers agree with this and so does Sam Hargrave, and they tell me this is the story I want to tell. These are the emotions that I want the audience to feel. How do you think we should do that? And so it really gives me a lot of leeway to sort of experiment, be an artist, be a storyteller, and come up with different ways to mix and match. A lot of that stuff is born out of finding out what works for that film, and it comes back doing it again on the second one and doing it for another show. So, yeah, I think that’s probably my signature sound is working really closely with the directors to do whatever the film wants.
WAMG: You did some incredible work on The Citadel, which definitely had a different sound. There was a lot of electronic sounds in there. So, do you tend with all your other films do you approach them all the same way, because to me, without a good score, it could make or break a movie. Do you find that you approach it like you were saying, the storytelling aspect the same way, or just does it really depend on the input from the director?
AB: Well, it’s a bit of both. What is the story we’re trying to tell. It’s always early on conversation with the filmmaker. Boil this down. I get that we’ve got 100 page script. I understand there’s always characters, so get it down to me in one sentence or even one word. What’s the story we’re trying to tell? And that’s where it all starts. Then it becomes, okay, well, how are we going to tell that story? What’s the best way to do that?
And that opening conversation is really what sets the tone for all this, depending on what filmmaker wants to do, and in this case, for Sam, it was more of the same, but it’s more personal. This time with Rake, it means more and there’s more on the line. So that was a part of the story that we were telling. We tell the story of him doing all this killing, all this stuff, all this fighting and all these missions.
So how do we do it personal? It’s not easy. It means more to him. So by doing that, it really let me lean into, okay, then we do need to have some of that emotional stuff like we talked about pulling out from the first. But then we also have to make even the action music have something in it that just feels like it means a little bit more.
Not even really putting emotion into it, but not making it just visceral. Still doing some of that storytelling. It really does always start with the conversation on what the director wants, and then from there, it’s experimentation. What instruments do we like? What instruments can work? What instruments can be cool? One of the things we did on this one, which I really had a lot of fun, apart from the percussion, was a lot of the pads. And they sound like a synth pad, but they’re actually wine glasses. We had that idea for sort of thinking, okay, well, he’s a man with a disability, a hearing disability. That ringing in your ear started with that. So how do we kind of turn that? We actually got some Georgian wine, filled up a bunch of wine glasses, created instruments, so a lot of his tunes are doubled with that. And then we started then it was like, okay, that’s really cool, but it’s not enough identifying so then what do we do? Starting to put some of those acoustic instruments over. That just starts with a conversation. And then for me, it goes to experimentation. How do we tell that story, this film and this genre, that sort of thing?
WAMG: What kind of music influenced you as you were growing up, as you were in school that you think has carried over to today with composing?
AB: Well, it’s probably… I was just thinking about this for the first time. I grew up in Kentucky, and obviously country music and folk music was a big part of my childhood when I was very young. And when I was a kid, I started studying classical and jazz. But having that folk music, really growing up and listening to that, it’s all about storytelling. So that’s probably why I approach films in that sort of storytelling sort of way.
Music kind of comes second because that’s a lot of what folk, country music was when I grew up and listening to that. But like I said, I shifted over to classical and to jazz music and studied that for years and really sort of found that I loved being able to do that and sort of tell stories with music. It’s an incredible tool to be able to use.
WAMG: Who are your favorite film score composers? What are your favorite scores?
AB: My favorite score. I don’t know if it wasn’t the first film I saw, obviously, but the first time hearing a score and being like, oh, wow, this is incredible was Alan Silvestri’s score for BACK TO THE FUTURE.
Being a little kid (hums the melody) incredible. And that really is probably the first film that piqued my interest in film scoring. I’d already been studying music as a kid, but that was the first one that made me sort of put my head up and go, oh, hang on, there’s an avenue I might be interested in. I think Bernard Hermann is probably one of the greatest film composers to ever live.
I should say my mentors Henry and Hans (Zimmer) for sure. But yeah, Bernard Hermann for me is, just in case they read this, but yeah, Bernard Hermann is such an incredible, again, he’s an incredible storyteller with music. The score for VERTIGO, the score for NORTH BY NORTHWEST, FAHRENHEIT 451 – all just truly incredible scores and definitely ones that I look to a lot for inspiration. I have fun listening to music.
WAMG: That’s really funny because when I interviewed Henry Jackman, who you worked with and work with, when I spoke with him about Captain America, we spoke about Civil War. We also did another interview about Winter Soldier. I asked him, as I love to ask composers, who do you like? What’s your favorite? And he said, Alan Silvestri, but he said for PREDATOR, the original Predator movie. And then a few years later, I spoke with him, and he was doing the film THE PREDATOR in 2018. It’s interesting that you should both say the same thing.
AB: The fact that he’s never won an Academy Award, it baffles me. Alan is truly, he’s a once in a generation. I got to help Henry out on that Predator score and what we had, we just nerded out and truly had so much fun.
WAMG: Henry said he felt like, “I need to go and ask for his permission to do a Predator movie with his score.” And he said, Alan Silvestri said, “I had no clue what I was doing for that movie. I needed it to sound very militaristic, I needed it to sound very otherworldly, but I didn’t know what I was doing, I had no clue.” It’s such an iconic score and it sounds so genius now.
AB: Well, leave it up to a true genius to stumble into a genius score as well. That only happens when you’re thinking about. I remember working with Henry on that project, and it was almost as if you’re dealing with someone that iconic and that you look up to that much like both of us did and still do.
And then you’re using some of his themes and motifs. It’s like someone walking up to you and handing you, like, the crown jewels just in the middle of the street, like, okay, we need to be very careful here. We cannot mess this up. This means alot and this is a perfect score. The first couple of weeks, we were very nervous, but then we got to writing and working on that project and it was good.
WAMG: You guys did a great score. So lastly, what other projects have you now that EXTRACTION 2 is going to be released in a few weeks on Netflix? What do you have coming up?
AB: Well, the only big thing next is season two for Citadel, which will probably be the next thing started, d own the road a little bit. Taking a little bit of a break after wrapping these two projects up and trying to enjoy a nice little summer. After that, we’ll have to see.
WAMG: Thank you for taking the time to speak with me. It was a real pleasure. And the score for EXTRACTION 2 is very good and really well done.
AB: Thank you very much. That means a lot. I really appreciate it.
The soundtrack album is now available for listening/purchasing on Amazon and Apple Music stores
Album track list:
1. Starting Over (3:47) 2. The Brothers (3:24) 3. Rebuilding Rake (1:14) 4. Prison Mission (3:52) 5. Code Red (3:16) 6. Born Into War (1:12) 7. Davit & Goliath (1:27) 8. Riot in the Square (1:11) 9. Prison Escape (1:56) 10. Forest Chase (2:27) 11. All Aboard (1:41) 12. Something Else (1:36) 13. The Morgue (1:25) 14. A Second Chance (0:50) 15. Sandro Makes Contact (3:47) 16. Two Families (0:57) 17. Garage Escape (3:14) 18. Zurab vs. Chopper (2:17) 19. Storm the Tower (2:54) 20. Mahem Montage (2:09) 21. Rooftop Ruckus (2:15) 22. Tower Escape (1:14) 23. Yaz (1:39) 24. Cry Uncle (0:59) 25. No Time for Negotiation (2:11) 26. Rake Unleashes (2:21) 27. Avenge Him (1:34) 28. It’s Over (2:28) 29. Brave Like Dad (1:41)
Chris Hemsworth returns as Tyler Rake in EXTRACTION 2, the sequel to Netflix’s blockbuster action film EXTRACTION. After barely surviving the events of the first movie, Rake is back as the Australian black ops mercenary, tasked with another deadly mission: rescuing the battered family of a ruthless Georgian gangster from the prison where they are being held.
Hemsworth reunites with director Sam Hargrave, with Joe and Anthony Russo’s AGBO producing and Joe Russo writing. Golshifteh Farahani reprises her role from the first film, with Adam Bessa, Olga Kurylenko, Daniel Bernhardt and Tinatin Dalakishvili also co-starring.
Here’s a first look ay the new trailer.
This is a sequel to the first film that was based on the graphic novel ‘Ciudad’ by Ande Parks, from a story by Ande Parks, Joe Russo & Anthony Russo, with illustrations by Fernando León González. EXTRACTION 2 is produced by Anthony Russo, Joe Russo, Mike Larocca, Angela Russo-Otstot, Chris Hemsworth, Patrick Newall and Sam Hargrave, with Jake Aust, Benjamin Grayson, Steven Scavelli, Christopher Markus and Stephen McFeely as executive producers.
Film composer Alex Belcher (21 Bridges, Citadel), who co-composed the highly anticipated action sequel is returning after he co-scored the massively successful Extraction.
Chris Hemsworth returns as Tyler Rake in EXTRACTION 2, the sequel to Netflix’s blockbuster action film EXTRACTION. After barely surviving the events of the first movie, Rake is back as the Australian black ops mercenary, tasked with another deadly mission: rescuing the battered family of a ruthless Georgian gangster from the prison where they are being held.
Hemsworth reunites with director Sam Hargrave, with Joe and Anthony Russo’s AGBO producing and Joe Russo writing. Golshifteh Farahani reprises her role from the first film, with Adam Bessa, Olga Kurylenko, Daniel Bernhardt and Tinatin Dalakishvili also co-starring.
This is a sequel to the first film that was based on the graphic novel ‘Ciudad’ by Ande Parks, from a story by Ande Parks, Joe Russo & Anthony Russo, with illustrations by Fernando León González. EXTRACTION 2 is produced by Anthony Russo, Joe Russo, Mike Larocca, Angela Russo-Otstot, Chris Hemsworth, Patrick Newall and Sam Hargrave, with Jake Aust, Benjamin Grayson, Steven Scavelli, Christopher Markus and Stephen McFeely as executive producers.
Well, we’ve made it through the soaring temps and the dangerous fireworks displays of the big three-day holiday weekend. I think a reward is in order, perhaps a trip to one of our favorite cinematic “getaways”. I’m referring to the Marvel Cinematic Universe, or the ole’ “MCU” as many fans have dubbed it. Sure, it’s been almost two months to the day since our last visit, but don’t you want to be taken away in the cool confines of your local multiplex? A head’s up: unlike the last two entries, our favorite Sorceror Supreme is nowhere to be found, though longtime fans will recognize a supporting player from his comics series (I’m not a spoiler, so that’s all). But we are familiar with this character, dating back to 2011. He’s not the oldest Marvel comics character, even though his roots stretch back thousands of years. Really. Now he’s truly venturing into unchartered territory as the only solo Marvel hero to have a fourth film in his franchise (technically, THE AVENGERS are at that number, though I count INFINITY WAR and ENDGAME as one king-sized epic). Brace yourself true believers, but don’t plug up your ears (you’ll miss some witty quips) for the one-two punch of THOR: LOVE AND THUNDER.
Prior to that logo we love (look for both Moon Knight and Ms. Marvel in the letter windows) we’re taken to a desolate scorched alien planet where a father named Gorr (Christian Bale) struggles to keep himself and his pre-teen daughter alive. After tragedy strikes, he sees an oasis in the distance, a lush haven for the deities he worships. There Gorr exacts his revenge using a special sword, becoming the “God Butcher”. Cut to a cave entrance by the ocean where the towering rock-skinned alien Korg (Takia Waititi) entrances a group of youngsters with the exploits of his BFF, the “Space Viking”, Thor Odinson (Chris Hemsworth). Since we last saw him in ENDGAME he left New Asgard on Earth, handing the governing reigns to “king” Valkyrie (Tessa Thompson) to explore the universe with those “heroes for hire”, the Guardians of the Galaxy (Chris Pratt and all the members of the MCU series). During his time with them, Thor loses his bloated belly and gains muscle, more than ever before. And he irks Starlord by becoming a bit of a “showboat. And he gains a rep as a swashbuckling ladies’ man, though his thoughts still turn back to the Earth-born Dr. Jane Foster (Natalie Portman). After receiving a gift of twin giant magical flying goats from a grateful planet (they may have wanted to be rid of the screaming beasts), he learns of a menace that murders god-like beings on other worlds. Further investigation leads him to believe that New Asgard is next on his “hit list”.Meanwhile Dr. Foster faces her own crisis as a deadly disease almost drains her of life. After Earth science has failed her, she is drawn to the same spot hoping for a New Asgard cure. When Thor and Korg arrive at their old home, Gorr and his gigantic spider-like creatures are destroying the “tourist trap”. Thor is stunned when he, Korg, and Valkyrie are joined by Foster, in full armor and wielding the hammer Mjolnir as the “Mighty Thor”. But they’re not enough to stop Gorr and his minions from grabbing the Asgardian children and whisking them off to an unknown world. Will Thor and his friends enlist the help of the “God-world”, Omnipotent City, run by Zeus himself (Russel Crowe)? And just what is Gorr’s real master plan? Most importantly, will Thor and Jane rekindle their passion, if they can survive the powerful Gorr. And if they somehow triumph could her powers be only temporary?
Let’s raise a glass (maybe a magic Uru hammer instead) to the superb comedic skills developed over the last eleven years by Mr. Chris Hemsworth (just being specific as his “bros” Liam and Luke are pretty talented, too). Though he’s stumbled a bit in similar funny turns in the GHOSTBUSTERS reboot along with MEN IN BLACK: INTERNATIONAL (with Ms. Thompson), he’s truly made the Thunder God his own signature role, one that delivers more than laughs and a well-sculpted biceps. He’s got an infectious clumsy charm as he navigates through ordinary worlds and unexpected tenderness in dealing with “lesser mortals” and even the weirdest of creatures. He could be the movies’ most engaging “himbo’ since the glory days of “Arh-nold”. Oh, but there’s his romantic side as he fumbles to keep his ‘cool” around the now “super-charged” Jane. A big “welcome back to the franchise” to Ms. Portman after sitting out the last entry, RAGNAROK (though she did a flashback for ENDGAME). She shows us Dr. Foster’s all-too-human vulnerability as she realizes that all of her intellect can’t delay fate. But there’s also an exhilaration as she taps into her action heroine persona. Luckily the story provides us with a villain truly worthy of an ultimate Viking duo. Once again Marvel strikes cinema gold by casting another Batman (like Keaton in SPIDER-MAN: HOMECOMING) as a formidable ‘baddie” with Bale bringing intensity and stunning humanity (ala’ Thanos and the recent Scarlet Witch), and a wicked sense of “gallows humor” to the twisted being who will let no one stand in his pursuit of his (kinda’ relatable) goals. Joining the forces of good is the always compelling Ms. Thompson who shows us that Valkyrie is more than a wild “warrior woman”. There’s a dim glaze in her eyes as she deals with the mundane as the royalty of New Asgard. Townhall meetings and public relations (cutting a commercial) have almost drained her spirit. When she teams with her old pals, it’s as if an electrical switch has been flipped, which also jolts her snarky wit back into focus. Waititi is just as fun as the “rock monster” with a “laid back” attitude, content to observe and “back-up” his thunder bro’ will also taking a bit of the p#*s out of him. One of the film’s biggest unexpected delights is Crowe sending up his action hero past (GLADIATOR comes to mind) as the pompous but fairly clueless Greek “God of gods” who seems more interested in mortal-style pleasures of the flesh.
Once again, Waititi establishes himself as an astounding cinema triple threat, doing a superb “mo-cap” as Korg, directing and co-writing the screenplay with Jennifer Kaytin Robinson (he had similar duties on JO JO RABBIT and snagged a well-deserved Oscar for the adaptation). In his second Thor outing, Waititi truly makes the franchise his own, somehow going seamlessly from hilarious comedy to bombastic action, then switching from a tentative romance to heart-rending tragedy and even a smidgen of nail-biting horror and suspense. We can even say he’s given us a pretty darn cool mini Guardians of the Galaxy movie (to tide us over till Jim Gunn’s trilogy finale next year). And kudos to the many artisans and craftspeople for creating these incredible worlds of wonder, going from the “eye candy’ of the alien realms (love the crystal-like cities) to the tacky theme-park kitsch of New Asgard (love the multiple cruise ships in the harbor) to the spooky realm of Gorr, recalling the eerie silent cinema sci-fi and surrealist imagery of a hundred years ago. It all works thanks in large part to Barry Idione’s cinematography and the tag team music score from Michael Giacchino and Nami Melumad. During the sequence in Omnipotent City, I wanted the camera to linger a bit longer in order to drink in the imaginative renderings of the deities of different cultures and planets (that’ll be a great BluRay bonus feature). Balancing the action and cosmic journeys are nice bits of playful humor (who knew an ax could be jealous of a hammer). While many franchises will seem to be “running on fumes” by the fourth installment, this series actually feels re-energized, ready to take us on more cosmic capers full of danger and delights. Hopefully, those are in the works (those Marvel magicians are always plotting and planning), but for now, fans of high-flying adventure (and chuckles and swooning passion) will get their multiplex-money’s worth of derring-do with THOR: LOVE AND THUNDER, where it’s always “hammer-time” (and a very good time).
3.5 Out of 4
THOR: LOVE AND THUNDER opens in theatres everywhere on Friday, July 8, 2022
