FULL METAL JACKET (1987)
Somewhere a few months ago, I read that the soundtrack album for â€œFull Metal Jacketâ€ had on it a track where R. Lee Ermey did a boot camp rap over a cheesy backing beat. Of course, I had to hear it right awayâ€¦
Turns out that it isnâ€™t so much Ermey on the mic than it is dialogue clips from the film layed over said cheesy backing beat, with a shredding guitar solo in the middle. The music for the whole film is credited to â€œAbigail Meadâ€, which is a pseudonym for Vivian Kubrick, Stanleyâ€™s daughter. Nigel Goulding is just some studio musician hack, I guess.
In addition to being on the soundtrack album, this song was released on its own as a 12â€³ single!
DEADLY FRIEND (1986)
Plot outline: “Deadly Friend” is simply a story about the robotic ghoul next door, or I Was a Teenage Frankenstein, updated for the ’80s by director Wes Craven of “A Nightmare on Elm Street” fame. A super-nerdy brainiac (Matthew Laborteaux, “Little House on the Prairie”) makes an artificial intelligence robot named BB, and falls for his abused hottie neighbor (Kristy Swanson, “Buffy the Vampire Slayer”). Tragedy strikes, and both the robot and the girl have near-fatal accidents on Halloween. The nerd swings in to action and fuses their brains together. Unfortunately this radical medical procedure turns his girlfriend into a death-crazed zombie with scary strength. Deadly bloody mayhem ensues. – DVD Verdict
Screw Nightmare on Elm Street — this is simply the best Wes Craven movie ever. From the opening scene of the film, we’re treated to an artifically-intelligent robot named “BB”, who babbles incoherently in a made-up language that makes it sound like he’s an Ewok. The film is an insane grab-bag of killer robots, biker gangs, teenage geniuses, reanimated corpses, drunk incestuous morally-bankrupt fathers, gratuitous gory dream sequences (after all, it was directed by the man who created Freddy Krueger), and, best of all, a cranky neighbor with a shotgun (played by Anne Ramsey, who undergoes what is easily one of the best death sequences in all of ’80s horrordom).
The music over the end credits is a wild, laughable ode to the film’s deadly robot. Even out of context, the song is retarded.
FEAR NO EVIL (1981)
Plot outline: â€œHigh school student turns out to be personification of Lucifer. Two arch angels in human form (as women) take him on.â€
1981â€™s â€œFear No Evilâ€ is a goofy, slightly strange demonic possession flick notable for its rock and roll soundtrack provided mostly by Sire Records, who at the time had the Ramones, Talking Heads and the B-52â€™s in its roster. The punk rock theme, though, is shattered completely by the filmâ€™s end credits theme song, done by a goofy-ass deep-throated metal band called Trybe, very much in the vein of Saxon or Krokus.
Jerry Goldsmithâ€™s spidery, frigid orchestral score for â€œAlienâ€ is the perfect compliment to whatâ€™s rightly considered one of the most powerful films in both the sci-fi and horror genres â€” but itâ€™s difficult to piece together just what music cues from the â€œAlienâ€ soundtrack LP actually appear in the film itself. On the subject, Wikipedia sez:
Director Ridley Scott and editor Terry Rawlings became quite attached to several of the cues they used for the temporary track while cutting the movie. As a result they moved around much of Goldsmithâ€™s score and had many sequences rescored. (Interviews on the â€˜Quadrilogyâ€™ DVD release of this film document the viewpoints of Goldsmith, Rawlings and Scott in regard to this situation and why it occurred.) Two cues from Goldsmithâ€™s earlier score for â€˜Freudâ€™ appear in the film, and a section of Howard Hansonâ€™s second symphony, â€˜The Romantic,â€™ replaced the end credits. As a result, Goldsmithâ€™s original soundtrack LP represented more the original score he wrote than what ended up appearing in the film.
In any case, the one mystery credit, when it comes to the music of â€œAlienâ€, is who scored the filmâ€™s theatrical trailer? Judging by Goldsmithâ€™s work elsewhere on sci-fi films like â€œLoganâ€™s Runâ€ and â€œOutlandâ€, itâ€™s quite possible he did it, but there seems to be little info available on the subject.
MURPHY’S LAW (1985)
I always love it when a singer or band mentions their own name in song lyrics â€” Bo Diddley is the king of this practice â€” but itâ€™s an extra special treat to hear a movie theme song that repeatedly uses its own name. In this case, we have the end credits theme to the â€˜85 Charles Bronson crime drama â€œMurphyâ€™s Lawâ€, in which once again, Bronson plays, um â€” Bronson. Here, the theme of the film is sung by Bronsonâ€™s co-star Kathleen Wilhoite. These lyrics have to be heard to be believed, but yet, the logic of them seems typical for a Golan-Globus production. As an added bonus, the track is sung by the film’s wiley co-star, Kathleen Wilhoite.
THE KINGDOM (1994)
Lars von Trierâ€™s Danish television miniseries reaches the â€œTwin Peaksâ€-like peak of weirdness, standing out as possibly one of the most warped things to have ever been broadcast on network television anywhere. 99% of all the action takes place in the neurosurgical ward of Denmarkâ€™s biggest hospital, and while the overall tone of the series is quite disturbing, the mood at the head of each episode is momentarily broken by the opening credits sequence and its accompanying militaristic theme song â€”