- #TAKE THAT HELL YEAH X MEN FIRST CLASS SONG MOVIE#
- #TAKE THAT HELL YEAH X MEN FIRST CLASS SONG FULL#
- #TAKE THAT HELL YEAH X MEN FIRST CLASS SONG TV#
Of course, even after that tragic and unsettling “Creep” cover in the movie’s final moments, there’s one more soul song just as the movie’s name pops up on a blood red screen, and quickly segues to a deluded children’s cartoon for credits.
#TAKE THAT HELL YEAH X MEN FIRST CLASS SONG MOVIE#
It might’ve been around that point where I started to get a sense of how messed up this movie was about to become. Later, things take a turn for the surreal - like the ghostly interlude where Carole gets into a cab and everyone begins singing along to David Soul’s “Silver Lady.” It’s a bizarre sequence, but knowing the context of the movie it’s also one of the more arresting I’ve come across this year. Where Christmas songs might’ve played for laughs in the movie’s early scenes, it’s haunting when “Little Drummer Boy” accompanies Bruce alone in his room, when we first see his hallucinations. As the movie spirals out, it gets darker and more disturbing, and its choice of music becomes more unsettling. Flitting between soul music, Christmas songs, and ’60s girl group relics like the Shirelle’s “Will You Still Love Me Tomorrow,” Filth is crammed with music that’s deployed to further underline the depravity and deliriousness of every scene.įor a while earlier on in the film, this stuff is great - the pop cues are wickedly tongue-in-cheek, positioning old school songs as a discordantly innocent soundtrack to Bruce Robertson’s (James McAvoy’s protagonist) craven behavior. Nevertheless, Filth comes out of the same lineage of down-and-out Scottish working class stories that Welsh favors, and it winds up carving out its own bizarre corner thematically and musically. These are movies from different eras, by different directors, with different subject matter. When it comes to music, Filth has a particular shadow to escape - it’s based on a novel by Irvine Welsh, like Trainspotting, which has one of the best soundtracks ever. As for May, I wound up turning to some places I normally wouldn’t look for good soundtracks, and wound up finding some surprises. I’m excited to see what those shows do with music next month. It’s a bit of a transitional period in that sense, before June becomes crowded with AMC’s new Halt And Catch Fire (which is set in the ’80s, so you just know it’ll appear in this column), HBO’s new The Leftovers, the return of Orange Is The New Black, and the surprisingly reinvigorated True Blood’s last run.
#TAKE THAT HELL YEAH X MEN FIRST CLASS SONG TV#
As far as TV goes, May is the zone in which a lot of shows are finishing up, but few are starting new seasons. (Even within that framework, there’ve been some missed opportunities - if that brief moment of Elvis Presley’s “You’re The Devil In Disguise” in the Godzilla’s Las Vegas sequence lasted a little longer it could’ve been hilarious and great.) On the other side of things are a bunch of indies that don’t seem to be playing anywhere. This is understandable: A lot of times there’s a certain capital-E Epic tone to these blockbusters that just seems to want those big scores, not a clever music montage.
The truly inspired pop-song moments will diminish.
#TAKE THAT HELL YEAH X MEN FIRST CLASS SONG FULL#
Summer blockbuster season is pretty much in full swing now, meaning there will be a lot of massive action set-pieces accompanied by orchestral scores that can be hard to tell apart from one film to the next.
May has been, in a lot of ways, kind of a frustrating month.