Word: soundtrack
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...only frightening thing in the movie is the soundtrack, filled as it is with the dreadful musical stylings of Insane Clown Posse and Rob Zombie. With just a sprinkling of self-consciousness and heaps of bad taste (the bad taste in this movie easily surpasses that found in John Waters's recent, limp Pecker), director Yu has made a B-movie that can easily stand next to such giants as Faster Pussycat! Kill! Kill!, Plan 9 From Outer Space and Troma classics like Surf Nazis Must Die and Class of Nuke'em High. The concept is not just perfectly ridiculous...
...newcomer to Nashville, Moorer writes songs that have an airy, panoramic sound and enough lonesome twang to fill a steel-guitar convention. She also comes with an impressive calling card: her lovely acoustic ballad A Soft Place to Fall was a breakout hit from the soundtrack to last spring's The Horse Whisperer. Moorer's deft songwriting proves she can live up to the advance billing. Classic mid-tempo heartbreakers like Tell Me Baby and Set You Free are her specialty, coaxing a gorgeously plaintive edge from her voice. Moorer may not have the pipes to belt it out like...
...show focused on the obnoxious and passionate vocalist and guitarist Kevin Griffin, their new album, How Does Your Garden Grow?, displays the talents of bassist Tom Drummond and drummer Travis McNabb. In "One More Murder," the first single off the new album and on the X-Files summer movie soundtrack, Griffin's vocals are restrained and the guitar is absent for much of the song. Drummond and McNabb combine for some funky bass lines and techno beats, which are also prevalent on the first track, "Je ne m'en Souviens pas." More than ever, Better Than Ezra is more than...
...held cameras. These directorial choices succeed in imbuing the film with a feeling of gritty realism, especially in the numerous jail sequences which were, justly, shot in Washington, D.C.'s correctional facility (as debatable a term as that is). Levin's choice of DJ Spooky's music for the soundtrack only intensifies the haunting feeling of modern urban life, and his directing is similarly appropriate. Sohn shines in a number of scenes; she has a remarkable gift for seeming both powerful and fragile at the same time. And when she performs her own poem towards the end of the film...
...visual distractions sprinkled throughout the film, one can't help but notice the handling of this clumsy plot. The persistent "rain forests can cure anything" mantra is annoyingly condescending, but without it, one might as well be watching a per-flight nature video with complementary Vivaldi playing on the soundtrack. Incidentally, the musical score is one of the better aspects of the film. It is majestic, holy and beautiful, right when it needs to be and never gets out of hand...