Word: soundtracked
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Dates: during 1990-1999
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...film is sensuously shot and soundtracked, with a fevered violence of color and angle. The shots of the yacht on the open sea show the true brutality of blue and white when sea, ship, and sky seem to continually lunge against each other and fight for dominance of the screen. Views of Italy are made to seem as craven and far from redemption as the protagonists themselves. There seems a matter-of-fact weariness even to the children at play in the street, as if to sense that their lives will never lose this frivolous emptiness, that the games will...
...wouldn't know it from the cover story or the movie review, but "Twister" is the most prominent release for the season of Warner Brothers, a Time Warner Entertainment Company, with a soundtrack on Warner Sunset Records, a division of Warner Music Group, and a World Wide Web Site on Pathfinder, Time Warner's ad-infested base in cyberspace. "Twister" is simply another product, albeit an important one, which will affect the health of the Time Warner entertainment octopus. Who ever said that American firms weren't cooperative? At the behest of Time Warner, the consumer is forced to experience...
...make a "postmodern" Western? You start, if director Jim Jarmusch is any guide, by throwing out the term "postmodern." You also make the plot and dialogue incidental, while giving such elements as setting and soundtrack full narrative weight. In a recent interview with The Crimson, Jarmusch described his latest Miramax release, "Dead Man," as an "acid Western," a term perhaps appropriate to a film which takes the Western idiom and stretches it to its most surreal limits...
...with a full fade to black between scenes. These pauses in the narrative slow the film down and thwart the efforts of audience members to gauge the pace or predict the plot. The moments of blankness, which Jarmusch describes as "respiration," also serve to showcase Neil Young's virtuoso soundtrack. Young has created a raw, wiry sonic complement to the film, as compelling as the visual elements and the plot. Jarmusch described Young's goal as creating a "melody" to go along with the rhythm of the movie itself. Relying predominantly on guitar with very little accompaniment, Young's composition...
...king's horses couldn't give this fashion victim of a play a fully convincing makeover. Pop culture, it complains, forces us to manufacture ourselves in the stylized image of our own mass-produced fantasies. The blatant phoniness of this predigested psychobabble is underscored by the soundtrack (imagine--a play with a soundtrack!), which features such luminaries as Sting, U2, Live, and Counting Crows. Despite its occasional flashes of loveliness, "Savage Love" limps along ponderously, bloated by the ostentation of the same culture that it attempts to parody--and, ultimately, fails to escape...