Talking Movies

March 27, 2012

Top 5 Muse Soundtracked Film Scenes

(5) New Moon
‘I Belong to You’ is a great song, and Matt Bellamy even re-worked some elements of it for the purposes of this movie, but of all the films to waste it on… I don’t think I could ever stomach re-watching New Moon; with its endless moping by Kristen Stewart and its failure by Taylor Lautner to make any impression despite an ocean of screen time because his dialogue is so poorly written; even to enjoy hearing it.
 
(4) Eclipse
The throwaway nature of this usage of Muse is rather hilarious and is what makes it noteworthy. Director David Slade (former music videos lenser) puts the soaring track ‘Neutron Star Collision’ on a stereo in the background of a party scene so that Anna Kendrick can excitedly say ‘Oh, I love this song’, before the camera pans away from her to follow other characters away from the music and towards the actual dramatic purpose of the scene. Delightful.
 
(3) Southland Tales
Richard Kelly’s Southland Tales is a fascinating mess but it does have any number of memorable moments, and many of the best involve music: The Rock running scared to the surf version of the Pixies’ ‘Wave of Mutilation’, Justin Timberlake showily performing The Killers’ ‘All These Things That I Have Done’, and Muse’s magisterial ‘Blackout’ providing a suitably odd soundtrack to a scene where The Rock, Sarah Michelle Gellar and Mandy Moore clash at an opulent mansion.
 
(2) Twilight
The greatest cinematic game of baseball ever played sees the Cullen family take advantage of an approaching thunderstorm to hide the tremendous cracking sound made when a super-strong vampire batter hits a baseball thrown by a super-strong vampire pitcher. Thirteen director Catherine Hardwicke’s gritty films may make her appear miserable but soundtracking this with Muse’s incredibly funky (and allegedly a parodic attempt at doing a Britney Spears song) ‘Supermassive Black Hole’ shows a well cultivated sense of fun.
 
(1) Switchblade Romance
Alexandre Aja’s French shocker from 2003 has, for me, made the best use of any movie of Muse’s unique sound. Cecile de France, having been scared out of her wits while stealthily hiding from the psychotic trucker who has slain her friend’s family and kidnapped her friend, is reborn as an avenging fury when she roars off after him in a yellow sports car to the sound of ‘Newborn’ by Muse; escalating in as the car-chase proceeds.

Advertisements

December 1, 2009

The Box

Donnie Darko writer/director Richard Kelly ends his rollercoaster decade with an attempt to edge back towards the mainstream by aping I Am Legend and releasing a Christmas horror based on a Richard Matheson story. Kelly succeeds, to an extent, as his third film as director is closer in feel to his sublime Donnie Darko than to his vey muddled sophomore effort Southland Tales which was delayed for years before being given a notional distribution. But getting more coherent doesn’t mean getting better…

The Box opens promisingly, speedily establishing the lives of happily married couple James Marsden and Cameron Diaz and their twelve year old son living in Washington DC in an acutely observed 1976. The Viking exploration of Mars dominates the TV news, and this family, as Marsden’s NASA scientist and aspiring astronaut designed its camera system. A series of unfortunate events (including an incredibly odd scene featuring a creepy pupil disrupting teacher Diaz’s class) serve notice that this is one of those many, many films in which things will not go well for James Marsden. And sure enough into their money worries comes a mysterious box with a button under a glass dome, left on their doorstep with a card from Arlington Steward. Frank Langella is wonderfully sinister as Steward who visits them to explain the function of the button: if pressed two things will happen, someone they do not know will die instantly, and he will pay them 1 million dollars…

Langella is a fine actor yet Kelly does a very unsettling Two-Face style CGI make-up job on him to communicate otherness, though it is so effective it makes the plonky 1950s B-movie music that accompanies him seem scary. The 1950s B movie vibe ramps up as paranoia sets in that Mr Steward wants more from the couple than just a simple decision on whether or not to push the button and that he might not be working alone. Coincidences, a baby-sitter with a secret, an inexplicable killing by another NASA employee and a punch up at a wedding rehearsal dinner all broaden the terror of the story efficiently but then Invasion of the Bodysnatchers intrudes too obviously and our heroes start reading books explaining the plot. You are now leaving Darkoland, welcome to Southland. Cue embarrassingly bad special effects involving water, mutterings of conspiracies and aliens and alien conspiracies, and half-explained sub-plots involving time-travel, moral tests and free will.

Marsden is nicely sympathetic as the hero, infinitely more effective than Diaz whose now fading looks highlight her feeble acting skills, but the script’s convolutions defeat his best efforts while Langella’s villain is over-explained out of existence. There is much to like here but Kelly’s persistent concern with elaborate conspiracies suggests only low budgets which restrain his imagination can inspire him to succinct brilliance. Paradoxically, avoiding The Box could improve his work.

2/5

Create a free website or blog at WordPress.com.