Here's the list of movies I watched for the fourth month of 2014:
Captain America: The Winter Soldier Muppets Most Wanted Contracted Death Valley (1982) Madison County Philomena Q: The Winged Serpent Death Wish Death Wish II Death Wish 3 Tentacles The World's End Rewind This! American Grindhouse The Wolf of Wall Street Gojira Tremors 2: Aftershocks Monsters Reefer Madness Room 237 Mission Impossible: Ghost Protocol
It's a little shorter than I would have liked. There were four pictures I was planning on going out to see: Oculus, The Quiet Ones, Jodorowsky's Dune, and the re-release of William Friedkin's Sorcerer. Losing my job put a damper on those plans. How does one deal with that? I had a marathon the first three Death Wish movies. Despite the setback, April wasn't that bad. I did get to see some good recent ones for the first time, such as The World's End and The Wolf of Wall Street. I got myself acquainted with the works of Eric England with Contracted and Madison County. Plus, I got to revisit Death Valley (starring a pre-Christmas Story Peter Billingsley) for the first time in about 30 years. Also, just in time for the big guy's May 16th return to the big screen, I watched the original Japanese version of Godzilla along with Gareth Edwards's film, Monsters.
I'm moving on with the next phase of my life, but I'm still watching lots of films. I just won't be going out to the cinemas as much.
One thing all horror fans can agree on is that the one aspect that can make or break a film is the music. While there is plenty of unforgettable music created specifically for horror movies, let's not forget there are times filmmakers have also utilized existing works, too. Besides, honestly, aren't you tired of hearing about "Dream Warriors" yet? The five tunes I have listed below are, to me, the best-used songs in horror films. I'm not saying they are the best songs that happen to show up. Trust me, I'd love to include Accept's "Fast as a Shark" (played during the motorcycle scene in Demons) just because it's a kick-ass song. Totally different kind of list. These tracks were picked for a reason. As you'll see, the reasons vary, but the uniform criteria is that these songs worked so well they are forever synonymous with the films in which they were used.
Here, in no order at all, are the five greatest examples of using an outside song to enhance a horror film:
"Tubular Bells" by Mike Oldfield, The Exorcist (1973)
What mainstream audiences know as the "theme" to The Exorcist, is actually the first five minutes of prog-rocker Mike Oldfield's side-long epic, "Tubular Bells, Part I". It's pretty clear that Oldfield was not thinking "creepy atmosphere" when he came up with the intro, because the rest of the composition resembles nothing like it. William Friedkin, though, thought it was the right choice to add to "the scariest movie of all time." Oh boy, did he hit the jackpot. The melody is so eerily catchy with it's hushed, odd rhythm, ensuring its infamous association with The Exorcist. More importantly, it's so beautifully played, it simultaneously captures the very human drama of the film.
"(Don't Fear) The Reaper" by Blue Oyster Cult, Halloween (1978)
Hands down, one of the best examples of a song used to enhance a moment on screen comes in the form of Blue Oyster Cult's signature anthem, "(Don't Fear) The Reaper", in John Carpenter's Halloween. In the scene, Annie (Nancy Loomis) and Laurie (Jamie Lee Curtis) are riding in the car with the song on the radio, chit-chatting, smoking pot, and completely unaware of The Shape's existence, let alone the fact that he's following close behind in his stolen station wagon. Off their fourth album, 1976's Agents of Fortune, "(Don't Fear) The Reaper" was BOC's mainstream breakthrough, their biggest hit single, and is one of the greatest heavy metal songs ever written. It also puts every corny, corporate, kiss-ass hard rock power ballad that followed it to shame with its hauntingly beautiful, even philosophical, exploration of love that never dies. It works in the scene on the surface level of The Shape personifying Death, but the romanticism of the lyrics definitely adds a new layer to the bond between Laurie and her masked stalker.
Of course, an honorable mention goes to The Chordettes' "Mr. Sandman", which made its way into Halloween II. Similar to "(Don't Fear) the Reaper" in the previous film, the lyrics to "Mr. Sandman" ends up providing more subtext to the relationship between The Shape and Laurie. This time around, though, thanks to the film's plot twist, that subtext is more lurid.
"The Gonk" by Herbert Chappell, Dawn of the Dead (1978)
The most famous piece of elevator music ever. This library track, composed by Herbert Chappell and recorded in 1965, was used as the mall music for George A. Romero's zombie masterpiece, Dawn of the Dead. The snappy little number against the backdrop of hordes of the undead shuffling through a shopping center was as black-humored as social commentary gets, making it just as memorable as Goblin's original score for the film.
"Goodbye Horses" by Q Lazzarus, Silence of the Lambs (1991)
Next on the list is "Goodbye Horses", an obscure 1988 darkwave song by the group, Q Lazzarus. The track has become famous thanks to Ted Levine's beyond awkward dance in 1991's Silence of the Lambs. You would think a song about transcending the ordinary and mundane would be a joyous listen, but the shadowy music gives the lyrics a rather darkened edge. That's why this underground classic is the perfect soundtrack for Buffalo Bill's subterranean dungeon.
"Don't Stop Me Now" by Queen, Shaun of the Dead (2004)
26 years after its release, Queen's 1978 anthem, "Don't Stop Me Now" (off their underrated album, Jazz), was given new life after its inclusion in Edgar Wright's legendary horror comedy, Shaun of the Dead. I say inclusion, because Wright didn't just lay the song on top of the action, he made it part of the movie. As you can see and hear in the clip below, the scene is a hilarious blend of sound design, sound editing, choreography, and film editing. In addition, the song randomly plays as the Winchester's jukebox magically turns on during a crucial moment in the film, as Shaun's turn from aimless drone to true hero becomes complete.
As if you thought I was going to spend a whole month looking back on every single movie based on Marvel Comics characters that's ever been in movie theaters without putting my two cents in on the new one.
Chris Evans returns as the star-spangled super-soldier, Steve Rogers, in Marvel Studios' Captain America: The Winter Soldier. After the events in The Avengers, Rogers is still trying to adjust to the 21st Century. He's meeting new friends, like vet Sam Wilson (Anthony Mackie), but still misses the old ones, like his best friend, "Bucky" (Sebastian Stan), who he lost in battle in the previous Cap solo movie. He's also not very trusting of modern institutions, especially his own outfit, S.H.I.E.L.D. His suspicions are raised further after a rescue mission on a freighter, and as soon as he and Nick Fury (Sam Jackson) start poking around, a shadowy figure attacks and a S.H.I.E.L.D. boss (played by the legendary Robert Redford) questions Steve's loyalty. Cap soon finds himself on the wrong side of the law, and he teams up with Black Widow (Scarlett Johansson) and Sam to track down this mysterious assassin, known only as The Winter Soldier, and uncover the truth about S.H.I.E.L.D.
Just when I thought Marvel was getting into a comfortable, predictable place with Thor: The Dark World, they had to go and do this. Captain America: The Winter Soldier reminds us all, yet again, why Marvel Studios reigns supreme in big-budget filmmaking. The film is Marvel's usual explosion of character, action, and insane imagination, but it's so maddeningly magnificent, I would go so far to say it rivals that of The Avengers and the first Iron Man.
It has taken this far into the game to realize what makes Marvel Studios' pictures so successful creatively. It's not just certain individuals who should- but eventually do- get the credit. It's not Kevin Feige, or Joss Whedon, or Robert Downey Jr. These films are a collaboration, and Captain America: The Winter Soldier is one of the absolute best examples. Sure, it's Marvel with the ideas on where to take their properties, but it's also the talent that pulls it off in ways I'm sure blow them away. In the case of The Winter Soldier, directors Anthony and Joe Russo bring Cap into the modern action film, eschewing the pulpy, Indiana Jones aesthetic of The First Avenger in favor of the likes of Jason Bourne and Taken. Yes, everyone knew that going in, but the Russos also weave in elements of Watergate-era thrillers that not only act as a bridge between the two eras, but also propel the story- and the Marvel Cinematic Universe- into some shocking directions.
Before you begin thinking Marvel is going Chris Nolan on their movie world, know that the film never forgets what it is or who the character of Captain America is. That's because Marvel doesn't forget, the Russos never forget, and neither does Cap himself, Chris Evans. He delivers his best performance as Rogers yet, having given an opportunity to put Cap's values to an actual test in the modern world. Also delivering their best turns are Samuel L. Jackson and Scarlett Johanssen, while Redford and Wilson are most welcome additions. Credit the Russos for also striking a refreshing balance between practical magic, some kick-ass fight choreography, and CGI. And hey, Marvel, don't make Brian Tyler your sole music guy for your pictures. Henry Jackman's stirring score is a winner, and much more appropriate for this film than the bombastic arrangements heard in either of Cap's previous adventures.
Ed Brubaker's Winter Soldier story arc already stands as one of the greatest Captain America tales in comics, but now there is film path that is just as monumentally thrilling. Captain America: The Winter Soldier proves Marvel Studios- after all its stunning success with The Avengers- are not interested in being slackers. They still have the guts to challenge audiences, critics, and the "distinguished competition" in their thinking of what superhero films should be.
Given the massive writing assignment I gave myself this month, it's not going to take a film historian to guess what most of the movies I watched in March were. I did have to revisit quite a few, especially the earlier pictures, simply because it had been so long since I had seen a lot of them. It turned out to be a cool experiment, reexamining these movies with a different perspective, and by different I mean my own. It also gave me the opportunity to finally see those few I skipped out on. Spoiler alert: I'm glad I did!
I did manage to squeeze a few other titles this month to get myself away from the project every now and then. The one new title I saw that was the highlight of the month for me was Cheap Thrills, a black comedy starring Pat Healy, Ethan Embry, Sara Paxton, and David Koechner. That's all I'm going to say about it, because it's one of those you should go into with as little info as possible. Trust me, the experience of watching it for the first time will be better. It's available on VOD platforms, so I highly recommend you check it out. Me and Jennica saw the film at The Cinefamily, which was followed by a Q&A with Healy, Embry, and two of the producers. One of the best nights at the movies in awhile.
Here's the list of everything I watched this month:
Blade II Spider-Man Hulk Daredevil Book of Shadows: Blair Witch 2 The Punisher (2004) Bad Milo! Blade: Trinity Spider-Man 2 Elektra Fantastic Four (2005) Black Rock Ghost Rider The Blair Witch Project Fantastic Four: Rise of the Silver Surfer Pumpkinhead II: Blood Wings X-Men Origins: Wolverine Dallas Buyers Club Iron Man 2 Cheap Thrills Jason Goes to Hell: The Final Friday The Punisher (1989) Talk Radio X-Men: First Class Ghost Rider: Spirit of Vengeance Marvel's The Avengers The Amazing Spider-Man Iron Man 3 The Wolverine
Greetings, True Believers! Welcome to March Marvel Madness! Every day
this month, I'll be looking back on a theatrically-released movie based
on the characters of Marvel Comics. It's all to commemorate the April
4th release of the next Marvel film adventure, Captain America: The Winter Soldier.
Well, folks, we've come to the end of the line. This has been a long, exhausting, but fun and- I hope ultimately- rewarding adventure of my own. The only way I was ever going to break out of my sense of complacency, and get moving on with what I eventually want to do with myself, was to start writing again. I needed some kind of structure, some kind of goal to instill a sense of discipline in myself. Soon, the idea for this endeavor sprung to mind. I figured it would be something I would enjoy writing about for an extended period of time. Truth be told, I was hoping I would find my voice while this project progressed, but it appears that's going to take more work. Also, I was hoping to mention the films that didn't get a theatrical release, as well as two franchises, Men in Black and Kick-Ass, which were based on titles published by Marvel imprints. Unfortunately, I ran out of time. Still, my main goal was accomplished. At least from this point on, I can face my future with a stronger resolve and confidence in developing my skills. Before that, though, we've got one more Marvel movie to look at, and that is...
Chris Hemsworth is back as the mighty God of Thunder. He and his buddies, Lady Sif and The Warriors Three are finished do-gooding across the Nine Realms and head back to Asgard to be merry. However, danger is afoot back on Earth, as Jane Foster (Natalie Portman) stumbles on an ancient alien weapon that infects her. Those aliens happen to be The Dark Elves, led by Malekith, the Accursed (played by Christopher Eccleston), and Jane's infection awakens them from banishment. Thor returns to Earth to bring Jane to Asgard to help her, but Malekith and his Dark Elves launch an attack, seeking the weapon, and delivering a crushing blow. To avenge this assault on Asgard, Thor is forced to align with his mischievous brother Loki (Tom Hiddleston) in order to find a way to defeat the Dark Elves.
I was hoping, after his exile on Earth in the first film, that Thor's second solo movie would see him venture into other worlds in the Nine Realms. I was expecting Thor: The Dark World to be a film totally immersed in the fantastical, making it a welcome throwback to the days of The Dark Crystal and Krull. Sadly, Marvel Studios settled with a backwards-thinking approach to The Dark World that is both shocking and disappointing.
The Dark World takes a lot of time to get going, but guess where a lot of that time is spent? On Earth. With Jane and her friends from the first Thor (played by Stellan Skarsgard and Kat Dennings). And what we have to sit through before Jane leaves Earth is the stuff of tired sitcoms. To annoy us further, Chris O'Dowd has a cameo. However, once the adventure takes off, it is nothing short of awe-inspiring. The Asgardian cast is a solid group, especially Hiddles, who seems to be really relishing in the role of Loki in his third outing.
Another major weakness of the film is the villian department. Eccleston's role is really lacking. I'm not saying every Marvel adversary needs to be Loki, but an actor like Eccleston should have more to play with that what he's been given here.
Thor: The Dark World has a wealth of fantasy adventure to be in awe of, but it also makes the audience work unnecessarily hard to get it. Having already spent a lot of time getting to know Thor on a human level in the first picture, it's puzzling why Marvel chose to assume fans wouldn't be on board for a completely far-off journey. That's not post-Avengers Marvel Studios to me. That sounds more like the same chicken-shit, "keep-things-grounded" approach to most of the superhero movies made in the 00s, and it has me feeling nervous about how cosmic this summer's Guardians of the Galaxy will truly be. Marvel got to where they are by shooting for the moon. They should know the fans are ready to see what else lies beyond.
Greetings, True Believers! Welcome to March Marvel Madness! Every day
this month, I'll be looking back on a theatrically-released movie based
on the characters of Marvel Comics. It's all to commemorate the April
4th release of the next Marvel film adventure, Captain America: The Winter Soldier.
Today, honor is (almost) restored with...
Hugh Jackman returns as Logan, once a member of a team of valiant mutants called The X-Men. Now, he's a hermit living out in the woods, haunted by the memories of sacrificing the woman he loved (Famke Janssen). His exile is cut short when he's brought to Tokyo to say goodbye to a dying man who Logan saved when the U.S. dropped the atomic bomb on Nagasaki. It's not long before Wolverine is caught up in a tangled web of family, politics, and the Yakuza. Add to that, the immortal mutant suddenly loses his ability to heal, making him vulnerable for the first time.
A great character like Logan deserved a lot better than what he got in X-Men Origins: Wolverine. While that movie played out as a cold highlights reel, this one is an actual story worth caring about. Largely inspired by the 1982 limited series by Chris Claremont and Frank Miller, The Wolverine delves deep into the soul of the title character. Logan is a failed warrior looking for an easy way out, and he's forced into action in order to really look at himself. Only then will he be able to not just accept who he is, but embrace it. It's definitely a smaller, more intimate scale X-Men movie, but it is no less thrilling. The Wolverine still has its share of action, with chases, Japanese swordplay, a really wild fight on top of a bullet train, and the obligatory climactic superhero showdown. In addition, it's one of the more exquisite X-Men pictures to look at.
This is the kind of Wolverine solo film 20th Century Fox should have been shooting for in the first place. Instead of simply relying on the character alone to sell tickets, The Wolverine takes him places emotionally to give the audience someone to root for. My main concern with it at this moment, however, is how it ties with the X-Men films past and future. If X-Men: First Class is suppose to disavow the events of The Last Stand and the first solo flick, The Wolverine doesn't seem to want to honor that. Continuity-wise, as of this writing, the X-Men movie universe is really fucked up.
Greetings, True Believers! Welcome to March Marvel Madness! Every day
this month, I'll be looking back on a theatrically-released movie based
on the characters of Marvel Comics. It's all to commemorate the April
4th release of the next Marvel film adventure, Captain America: The Winter Soldier.
Today, Phase 2 of the Marvel Cinematic Universe kicks off with a bang!
Robert Downey Jr. returns for his fourth go-around as Tony Stark. In this film, the brilliant inventor/superhero is having a hard time adjusting to life after the events that took place at the end of The Avengers. Suffering from insomnia and anxiety attacks, Tony recklessly challenges a terrorist called The Mandarin (Ben Kingsley) who claims responsibility for an attack that put his friend, Happy (Jon Favreau), in a coma. After that challenge is answered by blowing up the house and all the Iron Man armors, Tony is stranded with a broken Iron Man suit. It's up to his own sense of self to get back to where he needs to be. And he better do it fast, because a crazed scientist (Guy Pearce) has created a dangerous weapon called Extremis, he maybe on The Mandarin's payroll, and he's after Pepper (Gwenyth Paltrow).
Seriously, how many third entries in superhero- or any genre- film series have sucked? Just look at what we have seen with this little venture: Blade: Trinity, X-Men: The Last Stand, Spider-Man 3. All dismal failures. Number 3s being just as good as their predecessors are an impossibility. Or so we thought. With some wildly inspired ideas, Iron Man 3 is a freaking miracle.
The Iron Man series succeeds by never letting go of its core, yet never content to stand still. New director Shane Black brings in an 80s buddy-cop action film sensibility to the series that keeps it new, fun, and smart. At the same time, it frees up the franchise to utilize comic book elements in exciting ways reminiscent of the first film. In addition, Iron Man 3 offers more exciting set pieces, including one of the greatest rescue scenes ever created.
Walking out after Iron Man 3 was a strange feeling. A good kind of strange, mind you. I'm used to coming out of a threequel either letdown or pissed off. I emerged from this movie wide-eyed, because Marvel made a breakthrough in cinema. It kept a franchise energized long enough to make a quality third installment. Can we have more like this, please? Thanks.
