Analyzing the music of cinema, one song at a time.
John Williams' immortal work seals the deal for two of Jurassic Park's early scenes.
A steady pull of strings - almost atonal - accompany Luke’s search for his formidable foe.
Crash owes a huge debt to Magnolia, but especially for this musical montage that works to tie everything and everybody up in a pretty bow before the film's final scene.
For my money, it's just one more ballad for Hit Girl to dance to in a ballet of carnage.
This song is not only associated with an alarm, the most dreaded noise of anyone's day, but a signifier for Phil that he is still stuck in this snowy purgatory.
The song is not only a nice fit for the stylish opening credits, its lyrics forebode much of what will take place in the twisty and turning plot that will lead up to this very moment in the film.
Yes, the city is full of music and so are the lovers on the bridge.
This is a magnificent moment in modern cinema from one of the most unique films you're bound to come across.
Preacher and church-goers alike harmonize as we observe the prisoners march through the swamp, through the church doors and then down the pew-strewn aisle.
I consider this one of the best film openings in my lifetime and the music is so much to thank for it.
When I first saw Magnolia this scene paralyzed me. It is one of the boldest decisions I have ever seen a filmmaker make.
It's this very sequence that led to my conclusion that Baz Luhrmann would be one of the best visionary filmmakers on the planet to orchestrate a film in 3D.
We learn about this cycle of nature from the lyrics as we observe some of its mascots en route to Pride Rock.
It's a sound you'd expect to hear whilst reading Lewis Carroll's passage about Alice falling down that rabbit hole.
What we have here is a comedy so stupid that is sometimes manages to become transcendent, or perhaps it's just unforgettable.
After a refreshingly realistic yet ice-cool getaway scene we're treated to the film's opening credit sequence.
You'll listen to the classic Cash lyrics in a way you never previously have when it's used in conjunction with our world on the brink of a zombie apocalypse.
The camera flies towards an islet in iconic straight-forward Kubrick form only to take a gut-turning canted flight right past it. Right away we're unsettled from the scenic views set to a score that feels wickedly reverent.
One of the most memorable aspects was how much the music here set the mood for the bait-and-switch drama to follow.
Composer Trevor Rabin and music supervisor Bob Badami have created an undeniable sense of nostalgia, pumping heart and soul with the sound of the 1970’s. Case in point is the final moment of the film.
The "Ride of the Valkyries" sequence (sometimes referred to as the "Flight of the Valkyries") is incredible in showing us both sides of the conflict in Vietnam.
Here we feature Williams understated but nonetheless tension-filling Jaws theme – a seemingly discordant E to F repetition of cello and bass that is as relentless as the white-tooted fish itself.
Tarantino has used popular music to full effect throughout the course of his career. It's only fitting that this trait was such a dynamic part of his embarkment into cinema.
Whereas a shot of a man stepping out onto his front porch and breathing in the green lawns and blue skies of a picturesque suburbia feels like a perfect fit, we're left to process the music set to senseless violence.
The song effectively evolves into its full potential and then erupts in a triumphal climax while the onscreen humanoid discovers and uses "man's" first tool.