It often happens - you walk out of a movie and have forgotten the plot, the acting, who was actually IN the movie...but the music stays with you...and stays...and stays. You don't mind the songs taking up residence in your head and wind up buying the soundtrack, thus making it a good thing that you went to this bad flick. Here are some of the most mediocre movies with great soundtracks.
1. Purple Rain (1984)
Can't remember a thing about the movie, but "When Doves Cry" is still stuck in people's brain for decades. Prince's outfits here also gave Dave Chappelle infinite fodder for his comedy. The rock legend even used Chappelle dressed up as him for the cover of his latest single.
2. Singles (1992)
This soundtrack had such music legends like Alice in Chains, Pearl Jam, Soundgarden while the movie's biggest draw was a long-haired Matt Dillon. Somehow, I think the music people got it much better.
3. Rocky IV (1985)
Russian menace Ivan Drago couldn't break this soundtrack - it was packed with such great music from Survivor, Kenny Loggins, and of course...James Brown. No wonder Rocky Balboa was inspired to come back and beat him. Oops. Sorry, spoilers.
4. Batman Forever (1995)
Val Kilmer wasn't the best Bruce Wayne, portraying him as possibly the most bland billionaire/superhero in cinema history. He made Michael Keaton look caffeinated by comparison. Really big hit songs by U2 and Seal helped make the soundtrack memorable, though. Music videos for both tunes got really heavy rotation on MTV, back when music was the primary impetus behind the channel, not reality TV.
5. The Crow (1994)
This movie got notoriety with Brandon Lee's death during filming more than from being good. The soundtrack was not a tragedy, though. It rocked, though - with the Stone Temple Pilots, Nine Inch Nails, The Cure and Rage Against the Machine. While it did spawn a couple of sequels, people don't really remember the original.
6. Juice (1992)
This was an OK movie that had the late Tupac Shakur in it, but it had an all-star rap soundtrack, including Naughty By Nature, Eric B. and Rakim, EPMD and Big Daddy Kane. Decades from the movie's release, people are still listening to songs like "Uptown Anthem", but the movie languishes in history.
7. The Beach (2000)
This movie sank faster than the boat in Leo DiCaprio's previous one (some film called Titanic), but it was buoyed by a soundtrack that included dance/electronic movie gods Underworld and Leftfield.
8. American Graffiti (1973)
This is a decent film that some dude named Harrison Ford appeared in before he became known as Han Solo, but it had so many great oldie songs on the soundtrack that you felt like you were transported back to 1962.
9. Vanilla Sky (2001)
This was a forgettable Tom Cruise vehicle, which was rare at the time since everything he touched turned to gold at the time the movie came out. The film has some beautiful music, including Sigur Ros' "Svefn g Englar," so we can thank the movie for raising awareness of that awesome band, at least.
10. Threesome (1994)
This was NOT an adult film, but starred Lara Flynn Boyle, Adam Baldwin, and Josh Charles. The soundtrack had several great artists, including Duran Duran, U2, Bryan Ferry and Tears For Fears - which means they should have at least titled that "More than A Threesome."
More:10 Great Double Albums'Game of Thrones' Adds Sigur Ros As Extras5 Awkward Band Reunions
From Our Partners:40 Most Revealing See-Through Red Carpet Looks (Vh1)15 Stars Share Secrets of their Sex Lives (Celebuzz)
The world premiere of Hitchcock took place Thursday night at the famous Grauman’s Chinese Theater on Hollywood Boulevard, serving as the opening film of the AFI Film Festival. Before the screening, director Sacha Gervasi stood in front of a packed house — which quickly became choked up by the director's emotional display — speaking about the support Fox Searchlight gave the debut director. (Gervasi lovingly called Fox Searchlight “filmmakers disguised as a studio.”) It was a heartfelt moment that was followed by a video clip of Hitchcock co-stars Anthony Hopkins and Helen Mirren — who are currently in London working on only their second film together Red 2 — recounting their experience starring as the legendary director and his beloved wife Alma, respectively. The short video clip closed with Mirren thanking the audience for attending the screening and Hopkins, in his best Hitchcock impression, bidding the audience the classic, “Good evening.” The lights went down and the film began.
Hitchcock is a hugely entertaining and riveting account of the making of the classic horror film Psycho and the behind-the-scenes machinations of bringing the controversial film to the big screen in the early late 1950s/early '60s. However, the actual making of the film Psycho serves mostly as a fascinating backdrop for the film to explore the intricate, complex, and challenging relationship between the brilliant yet tortured genius Hitchcock and his adoring, equally brilliant and often neglected wife Alma. Based on the excellent book Alfred Hitchcock and the Making of Psycho by Stephen Rebello with a taut screenplay by John J. McLaughlin, the film perfectly captures the mood of the early '60s and the challenges of bringing the very controversial book Psycho by Robert Bloch — with its then very taboo themes of transvestitism, incest, and overt sexuality — to the big screen. Ralph Macchio of Karate Kid fame, in an interesting bit of casting, plays the neurotic Psycho screenwriter Joe Stefano.
Beyond the intrigue associated with simply getting the movie made (one example: Paramount studio boss Barney Balaban, played by Richard Portnow, so hated the idea of making the movie that he would not finance the picture), the film also explores the complicated relationship between “Hitch” and his beautiful female stars. Vera Miles (Jessica Biel) is singled out for poor treatment (and given a pretty thankless supporting role in Psycho) because she dared to chose having a child and family instead of allowing the director to “make her a star” when she declined the lead role in Vertigo (a role that went to Kim Novak). However, Janet Leigh, who is portrayed brilliantly by Scarlett Johansson (in a nuanced and striking performance), is presented as a woman who knows exactly how to handle the temperamental director and their relationship is perhaps the most perfectly uncomplicated in the film.
In the final analysis, it is the relationship between Alma and "Hitch” that holds the movie together; Hopkins is as brilliant as he’s ever been and creates an indelible portrait of the legendary director — he will certainly add this to his impressive list of iconic chracterizations. His mannerisms, voice and larger-than-life physical presence are manifested brilliantly in the transformation of the actor who perfectly channels the spirit, the essence and the well-known persona of Alfred Hitchcock, one of cinema’s most famous directors. Mirren’s performance is an absolute showstopper, with her quiet resolve and unwavering admiration for her husband’s talent simultaneously comingled with her feelings of disdain for his ill treatment of her and his lustful yearnings toward his beautiful young female stars. The essential beauty of Hitchcock is fully realized when the pair emotionally, romantically, and touchingly reconnect by putting their differences aside and work in earnest on the fledgling production together. Ultimately, Hitchcock presents a portrait of the truly deep love between Alma and Hitch tempered, tested and strengthened throughout the years and ultimately reinvigorated through their collaboration in making Psycho the massive financial, critical and cultural success it would become.
The highly anticipated biopic Hitchcock directed by Sacha Gervasi, features an all-star cast including Hopkins as Alfred Hitchcock, Mirren as his wife Alma Reville, Johansson as actress Janet Leigh, James D’Arcy as actor Anthony Perkins, Biel as actress Vera Miles, Portnow as Paramount Studio boss Barney Balaban, Kurtwood Smith as the Director of The Production Code Administration, Michael Wincott as serial killer Ed Gein, Macchio as Psycho screenwriter Joe Stefano, and Michael Stuhlbarg as Lew Wasserman. The director of photography is the brilliant cinematographer Jeff Cronenweth (son of legendary “Blade Runner” DP Jordan Cronenweth) and the music score is courtesy of Danny Elfman. Producers include Ivan Reitman and Tom Pollack. A Fox Searchlight release.
[Image Credit: Suzanne Tenner/Fox Searchlight]
Hitchcock: The Horrors of Making Psycho — TRAILER
Alfred Hitchcock Movie Is a Love Story, Naturally — POSTER
Anthony Hopkins is Nearly Unrecognizable as Alfred Hitchcock — PHOTO
Director Alexander Payne's (Election Sideways) new film opens over sprawling landscape shots of Hawaii's scenic suburbia accompanied by George Clooney's character Matt King summing up his current predicament: "Paradise can go fuck itself." The reaction unfortunately is reasonable.
We pick up with King an ancestor of Hawaiian royalty in the middle of deliberations over a plot of land handed down through his family over generations. With every uncle aunt and cosign whispering opinions into his ear King is suddenly presented with an even greater problem: taking care of his two daughters. A boating accident leaves his wife in a coma forcing Matt to take a true parenting role with his young socially-troubled daughter Scottie (Amara Miller) and his rebellious teen Alexandra (Shailene Woodley) who was previously shipped off to boarding school. Matt awkwardly hunts for the emotional glue necessary for the mismatched bunch to become "a family " but matters are made even more complicated when Alex reveals that her mother was cheating on him before the accident. Murphy's Law is in full effect.
With The Descendants Payne continues to explore and discover the inherent humor in life's melancholic situations unfolding Matt's quest for understanding like a road movie across Hawaii's many islands. Simultaneously preparing for the end of his wife's death and searching for the identity of her lover Matt crosses paths with a number of perfectly cast side characters who act as mirrors to his best and worst qualities: his father-in-law Scott (Robert Foster) who belittles Matt for never taking care of his daughter; Hugh (Beau Bridges) an opportunistic cousin who pressures Matt to sell the land; Alexandra's dunce of a boyfriend Sid (Nick Krause) who always has the wrong thing to say; and Julie (Judy Greer) the wife of the adulterer in question. Colorful yet real Matt experiences a definitive moment with each of them yet the picture never feels sporadic or episodic.
Clooney and Woodley help gel these sequences together as they observe experience and butt heads as equals. Clooney's own magnetism stands in the way of making Matt a fully dimensional character but he shines when playing off his quick-witted daughter. His reactions are heartbreaking—but it's the moments when he has to put himself out there that never quite ring true. But the script by Nat Faxon Jim Rash and Payne gives Clooney plenty of opportunities to work his magic visualizing his struggle as opposed to vomiting it out like so many of today's talky dramas.
The Descendants is a tender cinematic experience an introspective and heartwarming film unafraid to convey its story with pleasing simplicity. Clooney stands out with a solid performance but like many of Payne's films it's the eclectic ensemble and muted backdrop that give the movie its real texture. The paradise of Descendants isn't all its cracked up to be but for movie-goers it's bliss.