Music & Musicals »

We're doing something crazy, and launching another little series here on Cinematical: Serious Scores. You're a smart bunch, so I imagine you've already figured out that the goal isn't to highlight our favorite bank heists, but to praise the creme de la creme of cinema's soundtracks. Hopefully, you'll find something new for your iPod, rediscover a lost favorite, or appreciate a piece along with us.

Technically, Werner Herzog's Aguirre: The Wrath of God doesn't have an official soundtrack. The entire score was recorded by the German progressive band Popol Vuh (the first of many collaborations they did with Herzog), and was released as an album in 1975, with a 2004 re-release. Only two tracks were actually used in the film: Aguirre I and Aguirre II. If you disdain the rest of their Krautrock, the magic of iTunes and Amazon allows you to buy them individually. Now you can put them on a playlist, set them to repeat, and go as mad as Aguirre himself.

Hints of madness aside, Aguirre I and II are pretty incredible pieces of music and were raved about in the 1970s. I think the music is just as powerful today, even if Moog synthesizers seem to have fallen out of favor. It's hypnotic and eerie, and so very evocative of that torpid jungle journey. Never have native panpipes sounded as frantic and terrified. I've embedded Aguirre I below the jump, but I highly recommend spending the $0.99 so you can download it to something hand-held and listen to it in the dark.

By Alison Nastasi

With the announcement of Carrie making a return to the Broadway circuit after a short-lived disastrous first go-round, I'm left holding my head and wondering, "Why?" Horror musicals are like your socially awkward cousin. You know, the one who talks too much and quite possibly bears an uncanny resemblance to Franklin from Texas Chain Saw Massacre.

Is it fair to hold the horror musical to the same standards as the dastardly horror film remakes that seem to be happening in droves? I don't think I can help it. Few horror musicals have been born from an original idea which leaves me with the same funny feeling. I'm well aware that remakes have been happening since the dawn of time but this kind of remake is worse. When you add the word 'musical' to anything it evokes a horrible visceral reaction within many people. Adding it to the word horror just seems like a bastardized and shrieking kind of wrong.

Isn't the comical genius of Young Frankenstein and Evil Dead perfect as is? Young Frankenstein was a parody. So, is a mugging Dr. Frankenstein belting out a song called Transylvania Mania anything other than pointless and silly? The film Cannibal! The Musical, another intentional parody by beloved low-budget Troma Entertainment, has more class by comparison. Even Cronenberg's The Fly has been made into an opera, but they don't have me fooled. Adding the smooth vowel-ridden word to the title doesn't soften the blow. In fact, it's almost more cruel. However, Repo! The Genetic Opera would probably disagree with me.

Read the rest at Horror Squad!

I may not be the biggest devotee of movie musicals, but I've been keeping an eye on Rob Marshall's adaptation of Nine (the Tony Award-winning musical) since the production was first announced back in 2007. The thought of some of the coolest chicks in Hollywood with Daniel Day Lewis in a musical about 8 1/2? Well, count me in. Despite early casting changes and rumblings about Lewis' singing abilities, I've held out hope for the flick, and now that the film's Christmas release date is a little over a month away the early reviews are trickling in. First up is AICN who scored an early review from a source going by the name of Tobby (You can read the entire review over there, but be warned, it's a little spoilery)

So let's start with the good news: according to this review, the film is pretty darn good. The reviewer had nothing but praise for Marion Cotillard as Lewis' wife, and even Fergie gets some love as the prostitute, Saraghina. As for Lewis in the role of the troubled director Guido Contini, it turns out those rumors of his lack of singing ability were just rumors, and he makes out pretty good in the review for the limited singing he does in the film (two songs) -- and I think we all knew his acting was never going to be the problem.

Of course, the film is far from perfect and there are some rough patches according to this reviewier. Most of the scorn was directed towards Nicole Kidman's performance as Contini's muse, and unfortunately one of the other problems with the film is Kate Hudson (who plays an American Vogue reporter) in what was described as a throwaway role. Bad timing, perhaps, now that Hudson's musical number, Cinema Italiano, is the bulk of the latest trailer for the film.

After the jump: Hudson's Go-Go debut and a musical layman's review of Cinema Italiano...

Remember that super-cute and super-rocking senior documentary Young@Heart, which hit screens last year? It's becoming a feature film, and The Hollywood Reporter posts that Working Title has found a new scribe in Will Reiser (I'm With Cancer). The rights had originally been bought back in 2007, and writer Bob Nelson had written a draft, but now, much like their senior subjects, the project is getting a new jolt of life.

As I hope you know by now, the film follows a chorus of senior citizens (average age of 80) who came together and toured -- not singing "old folks" songs for retirement homes, but all-out mainstream concerts featuring modern hits and classics from the likes of The Clash, Coldplay, and James Brown. The documentary dipped into their performances and their lives (some passed away during production).

Can you think of any movie that could be more fun on the big screen? Think about the senior-aged talent and Hollywood, and then imagine them rocking out. It would make that scene in The Wedding Singer look like nothin'. Betty White. Cloris Leachman (and New York, I Love You co-star Eli Wallach). Andy Griffith. Adam West. Anne Meara. The list goes on and on. This could be epic, and of course, I'm probably getting my hopes up way too high, but just think of the possibilities. What older stars would you like to see on the big screen, belting out rock tunes? Rock out to this clip and weigh in below.

This is what we call a slow news day. Even for a Sunday. But then a casual glance through The Hollywood Reporter yielded some huge sequel news! The sequel to Stomp the Yard has begun shooting in Atlanta! Since I don't think I've ever seen the first Stomp the Yard, I'm going to assume it's the tragic story of an ill-fated cement technician who is killed while paving a new schoolyard, thereby prompting the local dance team to "stomp" that beloved yard and win the fancy cheerleading trophy.

And get a load of these funky names! "Collins Pennie ... Pooch Hall, Terrence J, Lil Duval, Tika Sumpter, Kiely Alexis Williams, Keith David, rapper David Banner and music artist Teyena Taylor join "So You Think You Can Dance" runner-up Stephen "tWitch" Boss in the cast." (I love that the rapper has the plainest moniker.) Rob Hardy will direct (he probably is at this very moment, actually) from a script by the guy who penned Feel the Noise. Hey, writing feature-length rock videos is a specific skill.

The title for the upcoming sequel is (spoiler alert) Stomp the Yard 2: Homecoming. And yes, I think they're shooting for a theatrical release on this one. For more on what's sure to be the biggest sequel since Return of the King, stomp your mouse right here.

Tethered to reality by only a slender thread, Pirate Radio quickly cuts loose and floats off into its own imaginary layer of the Earth's atmosphere, where only good-hearted, pleasant-thinking, die-hard romantics can survive. Welcome home, Richard Curtis, where have you been?

Writer/director Curtis rose to fame on the basis of his screenplay for Four Weddings and a Funeral, featuring an ensemble of quirky yet appealing men and women chasing love and happiness, followed, notably, by his script for Notting Hill, but he's been writing off-kilter comedy sketches and episodic television for many years. Pirate Radio proves that his gift for writing witty one-liners and creating funny situations remains intact. His skills as a film director and shaper of material are a little more fuzzy and undefined, however.

As with Love, Actually, his previous directorial effort, Pirate Radio (AKA The Boat That Rocked) is filled with episodes that feel randomly assembled, knit together by proximity and happenstance more than narrative necessity. For all the laughter and positive feelings that Pirate Radio generates, it's a lightweight treatment of a potentially heavyweight subject.

I've always been drawn to radio on the big screen. It seems antithetical -- a sound format being so perfect for a medium full of sound and imagery. Video killed the radio star ... right? Nevertheless, radio leads to wonderfully aural expression that gives film that extra little something, whether that be the perfectly pitched voice of a radio DJ delighting in word play or the perfectly placed song that evokes any number of emotions. Word play and great music -- they've always been my weakness.

Therefore, naturally, I'm all sorts of excited for this week's cinematic slate, which not only includes disasters, tough women, and fantastic foxes, but also a little flick called Pirate Radio. This ensemble comedy has been a long time coming. In fact, it's been almost a year since we first got to see a trailer for the film that not only features a cast including Nick Frost and Bill Nighy, but also marks the return of Philip Seymour Hoffman to the retro radio seat. Oh yes, Lester Bangs is back, only this time he calls himself The Count.

To get you in the mood for true pirate radio living on a tried and true ship, check out five great on-screen radio moments after the jump. (Warning: Some are NSFW.)

AEG and Action 3D are betting on music lovers that will want to catch their favorite performers in a movie theater -- on the screen, that is. According to Variety, the two companies have already been getting footage from different festivals for their limited-run, 3D-only concert movies, which will be offered in a similar manner as U2 3D. The first series of movies will be footage of concerts from Dave Matthews (yay?), Relentless7, Ben Harper, and Gogol Bordello. The only group that sounds like it would wow music fans in 3D is Gogol Bordello, a gypsy punk band known for their outrageous live shows and songs like "Start Wearing Purple."

However, AEG is also behind the recent release of Michael Jackson's film This is It, along with Sony, which has made $186 million worldwide so far. While concert movies with built-in audiences like the Hannah Montana/Miley Cyrus: The Best of Both Worlds have been similarly successful, I'm not convinced that semi-random concert series will really put bottoms in seats. And for all you Phishheads, AEG has apparently already "filmed several 3D live sets of Phish from Festival 8 in Indio, Calif., in late October. According to [John Rubey, president of Network Live, a division of AEG Live], the company plans to roll out 'best of' edition from Lollapalooza and Austin City Limits as followups to the Matthews feature in 2010." So get your Birks and tie-dye ready to jam out, man!

I think it's a cool idea to offer people the chance to see their favorite bands up close and personal if they can't see them live, but there isn't anything to rival the actual live experience. Granted, you're not usually that close to the stage and some jerk just spilled beer on your shoes and someone else is singing along to every song and/or shouting "WOO!" in your ear, but that's all part of the concert experience, right?

Christmas came a little early allowing the animated 3D film A Christmas Carol to lead the box office, but not by as large a margin as many had expected. The Box was the only one of last week's wide releases to miss the top five, landing in sixth place. Here's the top five:

1. A Christmas Carol: $30 million
2. Michael Jackson's This Is It: $13 million
3. The Men Who Stare at Goats: $12.67 million
4. The Fourth Kind: $12.2 million
5. Paranormal Activity: $8.2 million

We've got two new flicks fighting for your dollars this week:

2012
What's It All About: They say the world will end with not a bang but a whimper, but director Roland Emmerich seems pretty sure it will happen with several kabooms and a motherload of digital effects. John Cusack stars as a man determined to keep his family alive during a global cataclysm predicted by the Mayan calendar.
Why It Might Do Well: Emmerich has already destroyed the world in Independence Day and The Day After Tomorrow, so he must be getting pretty good at it by now.
Why It Might Not Do Well: Maybe Emmerich has played his apocalypse card once too often.
Number of Theaters: 3,000
Prediction: $54 million

Pirate Radio
What's It All About: In the 1960s eight DJ's set up shop on a ship off the coast of England and broadcast rock and roll to the masses, much to the chagrin of the British government.
Why It Might Do Well: Phillip Seymour Hoffman is joined by Nick Frost and Bill Nighy, and the classic rock soundtrack sounds amazing.
Why It Might Not Do Well: It's a smaller release, so it won't be breaking the bank.
Number of Theaters: 900
Prediction: $6 million

Here's how I think next weekend will go:
1. 2012
2. A Christmas Carol
3. Michael Jackson's This Is It
4. The Men Who Stare at Goats
5. The Fourth Kind

I have to tell you that this installment of Scenes We Love was a close one, because the more I searched for the scene in question from A Nightmare on Elm Street Part 4: The Dream Master, the more I realized that it was a pretty terrible movie. The fourth installment of the horror franchise saw Freddy looking for some fresh meat after he had worked his way through the original "Elm Street brats". But like I said, this is about the song as well as the movie, so Dream Master (despite it's failings) lived to earn its very own Songs We Love thanks to "Anything, Anything", by Dramarama.

Now, no one would blame you if the name isn't ringing a bell, but Dramarama was an LA-based power pop band that made some inroads to fame before fading into obscurity in the early 90's -- with the exception of an appearance on a VH1 reality show, which seems to be the fate of most 80's bands. The song was used during a scene in which one of our young victims is practicing a martial art that will be utterly useless against Freddie, but one look at Andras Jones as Rick Johnson and this 13-year-old was in love (although I chose to overlook the Karate Kid headband). So even though "Anything, Anything" never really became a huge hit for the band, according to legend it is still one of "the most requested songs in KROQ [LA Radio] history" -- which I guess means I'm not the only one with fond memories of this tune.

After the jump: Dramarama's contribution to the Canon of Freddie...