Sure, Jason Voorhees beating you to death inside your sleeping bag isn’t the ideal way to end a night, but compared to sharing a confined space with Hannibal Lecter, it seems positively quaint. This was a killer who was smarter than you, who could manipulate you into becoming the centerpiece of his deranged murder fantasies. This wasn’t some disfigured guy lurking in your basement, hoping to take a swing at you. The Legacy: The idea of an educated, cultured, classical music-loving serial killer – rather than just another bug-eyed madman or a maniac with mommy issues – was one that resonated with audiences as somehow much more frightening than the standard fare. The Scene: Hannibal Lecter finally shows us what he’s capable of as he escapes police custody by biting off one guard’s face and beating the other to death, then crucifying him. The Song: Bach’s “Goldberg Variations: Aria” As the opening scene – and action-wise, the highlight – of that movie, Nightcrawler’s teleporting assassination mission set the bar for all who followed. The Legacy: The X-Men franchise kicked off the age of the cinematic superhero as we know it, and the second movie in particular, with its rounded characters, gay rights metaphors, and audience-pleasing set pieces, played a huge part in comic book movies making the leap from nerd niche to (occasionally critically acclaimed) billion-dollar summer blockbusters. The Scene: A brainwashed Nightcrawler BAMFs his way into the Oval Office, taking out every secret service goon between himself and the quivering president. The Song: Mozart’s “Requiem in D minor, K. This got us thinking about our other favorite instances of beautiful melodies used alongside devastating onscreen carnage – here are our top five. Rather than the usual heavy rock or hip-hop soundtrack or – as in more recent years – reliance on a series of increasingly loud BWAAAAAMS, it uses Karol Teutsch’s “ La Grande Sarabande Pour Cordes Et Basse,” a rather stately and elegant piece of classical music, which stands out brilliantly against the flying fists, cars, and bodies. The trailer for the movie is intriguing not just for its hyper-savage beatings, however, but also for its choice of music. Žižka was lauded for his inventiveness on the battlefield, and you’ll understand why by the time you’ve watched him use his wits just as much as his sword to tear through the latest line of enemy defenses.The Raid 2: Berandal kicks its way into theaters this weekend, and if the above glimpse is anything to go by, we’re in for some serious action. Medieval isn’t going to win over many new converts to the historical action-adventure arena, but it’s nonetheless a solidly entertaining and well-made slice of hard-hitting cinema that works best when the audience is placed right in the thick of the action. It’s a minor negative, but not one that’s intended to be a slight on the end product, which offers a regularly arresting clash between old and new school approaches to the genre, with Jákl acquitting himself very well as he confidently and assuredly makes an ambitious leap forward as a filmmaker after previously helming low budget drama Kajínek and found footage 3D horror Ghoul. Foster has been deserving of a major leading role in a blockbuster epic for what feels like forever, and even though he goes all-in to commit to the role of Žižka, nobody’s going to be looking back on Medieval as one of his strongest performances.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |