28 Hotel Rooms

The Best Soundtracks of 2012

Looking back over the past year in film, it is impressive to remember the different styles and forms of music that accompanied these various releases as they bring back the memories and emotions felt when first hearing a particular song or watching a piece of orchestration pair perfectly with what was happening on screen. When it comes to music, it is not simply a question of what was the best; it is a question of what resonated the most. Music created for film is unlike any other type of music because it is intended to be listened to while watching specific images. Of course there are songs that stand well on their own (see: Adele’s “Skyfall”), but hopefully even outside of the film, those songs conjure up memories of the films they came from. Sometimes a song placed in a particular scene can take on a whole new meaning, giving you a new ideas to reflect on when you hear it (see: “The Air That I Breathe” by the Hollies as used in a pivotal scene in Seeking a Friend for the End of the World.) Soundtracks and scores help add to the emotion of a film and this year’s musicians delivered in spades. From turning found sounds into orchestration to adding a new layer of depth to the end of a trilogy to proving that sometimes words simply are not enough, 2012 was filled with new, inventive, and memorable music. Let’s look back and listen to the twelve selections […]

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28 Hotel Rooms Trailer

Editor’s note: One of Allison’s favorites from this year’s Sundance hits theaters this week, so please get hot and heavy with her original review, first posted on January 29, 2012. What starts off as a seemingly innocent conversation between two strangers in a hotel restaurant quickly devolves into those same two strangers (played by Chris Messina and Marin Ireland) falling into bed together. It is not a new idea – two people, away from home, deciding to vacate their real lives for a night of anonymous pleasure – but director/screenwriter Matt Ross’ 28 Hotel Rooms begins to paint two characters who are a bit more interesting than they might seem at first blush, and who become increasingly so as their relationship twists and turns. After their first night together, Ireland’s character is revealed to be a newlywed and, while Messina’s character does not seem thrown by that fact, it also makes you wonder why someone so new to her marriage would be willing to cheat on it. It is revealed that Ireland is less than comfortable with the indiscretion she just gave in to and one would think things would end here, but despite her tears and seeming regret, this does not end up being the last time these two reach out to each other.

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Aural Fixation - Large

Piano driven and almost jaunty, the score for 28 Hotel Rooms brings you right into that moment of falling for someone for the first time – the excitement and giddiness that come from getting to know someone new who lights you up inside. An ironic feeling from a track titled “I’m Never Gonna Call You,” but 28 Hotel Rooms is not your average love story – it is the story of an affair. The almost dangerous and daring piano refrain starts to hint at this truth, but it is “Elevator” that dives right in to this feeling of a different world, one that can only live in the various hotel rooms our two leads (played with fire and passion by Chris Messina and Marin Ireland) constantly find each other in. But in the same way we never learn these character’s names, their love story is also doomed to ever be fully realized because they are each tied to relationships and lives outside of their few nights here and there with one another with the score working to take us through their various feelings and emotions. I spoke with Will Bates, one half of Fall On Your Sword and the composer behind 28 Hotel Room’s vibrant score, to find about more about his process and what inspired him to create the music for this unique story in which neither lead is painted in the most favorable light. Messina and Ireland each deliver raw and stripped down (both metaphorically and physically) performances as two […]

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28 Hotel Rooms Trailer

Here’s the difficulty in writing about a truly great trailer: it’s almost impossible to do. What can writing about something that is sexy, powerful, dreamy, intense, and wrenching possibly add to the experience of just simply watching it? Not much, so we’ll stick to facts before rolling out the main event. Writer and director Matt Ross makes his feature debut with 28 Hotel Rooms, a Chris Messina- and Marin Ireland-starring Sundance film that takes a high concept (two traveling professionals meet, fall into bed with each other at a hotel, and continue doing it over the course of years, and always just within various hotel settings) and elevates it to something truly special. We’ll leave the rest of it to the film’s stunning first trailer, after the break.

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Aural Fixation - Large

Ever since Napster hit the scene and forever changed the way we distribute music, the music industry has been fighting a slow death over the past few years and while record labels still exist, they are quickly becoming a dated way to “make it” with YouTube, at home ProTools rigs and countless social media outlets (Twitter, Facebook, Tumblr, Soundcloud) available for artists to truly DIY their careers rather than wait for the elusive record contract to “change their lives.” While established artists like The Chemical Brothers, Phoenix and Daft Punk have taken to the conductor’s podium to create scores for films such as Hanna, Somewhere and Tron: Legacy (can someone also get Muse attached to a project, please?), bands that are not yet well-known are taking their music out of local clubs and putting them onto the silver screen for better (and bigger) exposure. One band, a multi-media group based out of Brooklyn called Fall On Your Sword, caught people’s ears (and attention) with their score for Another Earth and are following that up with their score for the upcoming Lola Versus (due in theaters this Friday, 6/8) as well as 28 Hotel Rooms and Nobody Walks (which both premiered at Sundance this past January.) Rather than getting lost in the shuffle as just another “band from Brooklyn,” FOYS took matters into their own hands and began to diversify themselves by not just looking to release albums of their music, but explore other outlets for potential exposure.

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