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“Good Time looks terrific, bringing a scrappy sheen to the Safdies’ native borough. But more essential to its tight clench is the knockout underscoring, an almost nonstop blitz of intoxicating electronica from Brooklyn-based experimental composer Daniel Lopatin, who records as Oneohtrix Point Never. Lopatin also collaborated with Iggy Pop on an original closing-credits song, aptly titled “The Pure and the Damned.” Throughout, the prog-rock synth sounds conjure echoes of the vintage films of William Friedkin, Michael Mann and perhaps a hint of Assault on Precinct 13 John Carpenter, and yet the sonic carpeting never feels derivative.”

— Hollywood Reporter



"It’s perfectly matched with the score provided by Oneohtrix Point Never’s Daniel Lopatin, which nods to Tangerine Dream–style VHS thriller soundtracks of yore while going someplace far more inventive and expressive than most current imitators. Lopatin’s anxious squiggles of melodies and sonic assaults give us as good a sense as any of what it feels like inside Connie’s head."

— Vulture



“a 21st-century fast-food hybrid that mixes trash television and drug culture with Day-Glo-splattered night-time cinematography and throbbing synthesizers, thanks to a standout score from Oneohtrix Point Never.”

— The Film Stage



"La bande-son elle aussi tourne le dos aux habitudes. Composée par le musicien électro Oneohtrix Point Never sur un mode qui oscille entre la prophétie de malheur et la rêverie, elle parfait la sensation de cauchemar éveillé qui finit par envahir le film."

— Le Monde



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Management
Eliza Ryan (New York) - eliza.ryan@gmail.com
Andy Beatink (London) - andy@beatink.com
Ray Hearn (Tokyo) - rayhearn@beatink.com

Bookings
North America - Owen Mallon - omallon@paradigmagency.com
Europe - Ned Beckett - ned@lb-agency.net
Asia - Daisuke Omura - events@beatink.com