Come With Me Godzilla

The ‘90s were a special time for the Hollywood movie soundtrack. From Prince’s “Batdance” for 1989’s Batman to LL Cool J’s shark dance for 1999’s Deep Blue Sea, pop soundtracks became no longer a direct record of the songs featured in a film, but an eclectic hit parade of contemporary popular artists whose relationship of the film in question was often tenuous at best. Movie soundtracks, especially those for summer tentpole entertainment, served a function similar to the ‘90s NOW! series: as a means of assembling tested and would-be radio and MTV hits in one accessible package. Except this package was meant also to promote a movie. Such promotion followed a routine formula. Turn the music video into a four-minute commercial for the film. Turn the film into a promotional device for the soundtrack by placing the big single over the end credits like an earworm. None of the other songs on the soundtrack needed to be in the film. But the 1998 soundtrack to Roland Emmerich’s Godzilla was different. Like its title character, the soundtrack was big, brash, noisy, not-at-all subtle, and lucrative, yet it destroyed everything in its path. There are several reasons why Hollywood movies don’t produce pop soundtracks like this anymore, but the Godzilla soundtrack (if not the movie itself) deserves appreciation for its dumb, audacious weirdness.



By 2020, technology will have advanced to give us even cooler phones and GSP systems, but most impressive (at least according to director Shawn Levy) will be boxing robots. And what does a former (human) boxer do when he is replaced by the technology of robots? Become the operator and promoter of said robots, naturally. But more importantly, what kind of music does he fight and train to? The year might be 2020, but the artists making up the soundtrack for Real Steel almost read like it was released in the 1990s with songs from Limp Bizkit, The Crystal Method, The Prodigy and Foo Fighters. And this is not a bad thing. Real Steel is all about the performance (both in and outside of the ring) and the swagger filled soundtrack will get your adrenaline pumping as you root for the underdog team of former boxer Charlie Kenton (Hugh Jackman), his son Max (Dakota Goyo) and their robot, Atom. From the moment we meet Max he has headphones around his neck and as the story unfolds, music becomes as much a part of the world of Real Steel as the robots.



There are a number of elements to Nicolas Winding Refn‘s upcoming release, Drive, that are surprising. But beyond the shocking violence (if you’ve got a weak tummy, consider investing in a blindfold, or at least polish up your eye-covering reflexes before hitting the theater) and the nifty double-crossings and Ryan Gosling being a mind-blowing badass, there is nothing more surprising than the film’s soundtrack. Upon first listen, it’s incongruous. In fact, the soundtrack may make you feel as if you’ve finally lost total touch with reality and regressed all the way back to the eighties. Don’t worry about it, you’re not having an acid flashback or a stroke, the soundtrack really is that unexpected. The soundtrack will also make you want to become a tough as nails hitman and drive like you’re being chased by a pack of pissed off mobsters. It’s probably best to listen to it far, far away from the wheel of a car. Who am I kidding? Get this soundtrack, then get in your Pinto or Fiesta or whatever, and drive like hell. If you haven’t gone through puberty yet (and, if so, why are you driving?), this soundtrack paired with American muscle will change that faster than you can put pedal to metal and break whatever flimsy speed limit is posted nearby. I’m not telling you to break the law. This soundtrack is telling you to break the law. Check it out after the break:



Disney’s July release Winnie the Pooh is shaping up to become a cross-demographic juggernaut. First off, you have the fact that it’s hand drawn, which is going to draw in a bunch of nostalgia sales from people looking to get a break from the Hannah Montana era of Disney product. Secondly, it’s a new Winnie the Pooh movie, which means everyone is going to take their kids to see it. And now, Zooey Deschanel and her She & Him bandmate M. Ward have been added to the soundtrack, which should send hipsters in their early twenties running to the theaters to have a half ironic, half too precious to pass up time at the movies with Pooh Bear.



This is a contest for Ed Burns fans only. So if that includes you, you’re in for a great bit of luck because this prize pack is stacked. In support of the DVD release of Nice Guy Johnny, written and directed by Ed Burns, we’ve got a few items signed by the talented Burns, a copy of the movie, and a copy of the soundtrack. What more could you ask for? I hope nothing, because that is the extent of the prize pack. Click on in to take a look at the trailer, read about the film, and read once again how awesome this prize pack is, then just make us laugh or feel an awkward sensation in our loins to take it all home with you.



There are two very excellent reasons why you should be interested in the Hot Tub Time Machine soundtrack. Check ‘em out inside.



I loved Where The Wild Things Are. It’s a reminder that life as a kid is magical and difficult, so I’ve pinpointed seven reasons why I personally fell in love with this film.

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published: 01.25.2015
published: 01.25.2015
published: 01.25.2015

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