While there is a lot to be said for the good displayed in Jim, Selena, Frank and his daughter, Boyle’s film and Murphy’s score are not afraid to confront the horrific and grotesque in people, especially in the third act when the survivors find themselves on the military compound faced with some very difficult choices. There’s almost a tribal quality to the music while at the same time Murphy includes a disarming take on “Ave Maria” and “In Paradisum.” For a film and a score that, I would argue, is ultimately hopeful, Murphy’s music also ventures into terrifying parts of the human condition. Songs serve dual functions of reflecting feelings of fear and intensity while also soundtracking an eerily calm metropolis like London that has been reduced to stillness. The thing I love so much about Murphy’s score is how perfectly it encapsulates all of the emotions that are explored throughout the film. This film, and its successor 28 Weeks Later, feel even more timely now that the Western world can no longer think of ebola only as an African issue on the other side of the world (for the record, I am not trying to suggest that average citizens of the United States need to worry about ebola and you should read more from Nerdist’s science editor Kyle Hill on the matter).
#28 weeks later songs update
It managed to catapult zombie into its modern day incarnation (the “fast” zombie) and update the metaphor to reflect our fears of bio-terrorism and other apocalyptic threats in a post- 9/11 climate.
#28 weeks later songs movie
In addition to emphasizing the scares or mood in a horror film, the music can also tell a story on its own, which is why my favorite is John Murphy’s score for Danny Boyle’s 28 Days Later… The movie was groundbreaking in a lot of different ways.
What would Janet Leigh’s shower scene in Psycho be without those strings? Think about Jaws without the “Dum-DUM” or Michael Myers without Carpenter’s piano theme playing behind him as he deliberately pursues Laurie. And as a movie nerd, the power of a horror film’s score has always been crucial to my viewing experiences–music is often what makes a scene effective and suspenseful. From beginning to end the film is a joy, a pleasant surprise to someone like me who had been massively unimpressed with Matthew Vaughn's previous movies, Layer Cake and Stardust.As a big horror nerd, my favorite time of year is Halloween. Both those films seemed to be the work of a director who had surrounded himself with a highly talented cast and crew while displaying no directorial presence himself: as a director he made a great producer. While they seemed smug and complacent in their competence, Kick-Ass is far more assured, with much more verve and character. It's up there with Iron Man and The Dark Knight as one of those superhero movies that does so much right that it'd be churlish to even mention any shortcomings. In the opening titles there's something a little unusual. The "music composed by" credit lists four names: John Murphy, Henry Jackman, Marius De Vries and Ilan Eshkeri. Now that seemed interesting, four fairly prominent names in the soundtracking business working together on a movie. As someone who has enjoyed John Murphy's work for Danny Boyle's 28 Days Later and Sunshine, I was looking forward to hearing his contribution in particular. Would it stand out from the others? Yes, it does, but for all the wrong reasons.Īs the movie ramps up for the lengthy, action-packed finale the music is clearly Murphy's. It's Murphy's music for 28 Days Later, one of the variants of In the House – In a Heartbeat.
As the movie progresses there's more from Murphy, what sounds like his music from Sunshine. Kick-Ass reuses his scores, his highly recognisable scores that have previously been heard not only in the movies for which they were written, but also achieved omnipresence on trailers, adverts and TV. It's nothing new re-using movie music: Tarantino exclusively soundtracks his films to existing songs and film music, usually deciding on which tunes to use at the scripting stage. His choices are relatively obscure and a nice treat for movie buffs. With Tarantino's films I enjoy getting to hear music I'd only heard on VHS copies of films, all polished up, blaring out of cinema speakers, back where they belong.
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