This is the sound most people are accustomed to.  From the booming cannons in Pirates of the Caribbean to the endless seam of machine gun fire on the beaches of Normandy in Saving Private Ryan, diegetic sound is vital to not only one’s physical life, but to filmmakers as it is their way of setting a scene.  

However, that’s not sounds only responsibility in film, as the non-diegetic noises work to emotionally connect audiences to a film’s particular scene, theme, or character.  Like in James Cameron’s Titanic, composer James Horner crafts together a score that perfectly encapsulates the feeling of first witnessing the “unsinkable ship” with “Southampton.”

In the 21st century, no composer has affected his movies in such a way other than Hans Zimmer.  Zimmer has recently been nominated for ‘best original score’ at the Oscars for his work in Christopher Nolan’s Dunkirk.  In memory of his ongoing fantastic career, here are his 10 current best scores: 

10. “Variation 15”- Dunkirk

None of Zimmer’s soundtracks are more vital to a movie than his work in Dunkirk.  “Variation 15” is played at the film’s close, as the soldiers of Dunkirk beach are miraculously rescued by Operation Dynamo that called on the Royal Navy and British civilian boats to cross the English Channel at a time when Great Britain was on the brink of a Nazi invasion.  The score is uplifting and moving, however, ironic since the soldiers failed in France and retreated back home; establishing one of Dunkirk’s main messages: survival is victory.

https://www.youtube.com/watch?v=HUpUUeqSsSo

9. “Drink Up Me Hearties Yo Ho”- Pirates of the Caribbean At World’s End

Pirates of the Caribbean: the 21st Century’s adaptation of Peter Seller’s hilarious, slapstick Pink Panther classics.  In “Drink Up Me Hearties Yo Ho”, Zimmer integrates all the best musical elements from the trilogy and combines them in a four minute anthem centered around the first movie’s theme, “He’s A Pirate.”

8. “Time”- Inception

“Time” is to Zimmer as “Creep” is to Radiohead.  No doubt the composer’s most well-known song, but not his best.  At the end of Inception, Leonardo DiCaprio’s character, Cobb, wakes up from an elongated dream state where he was able to achieve Inception, but more importantly got the much needed closure he so desperately desired from his dead wife.  In a building fashion, the score illustrates Cobb’s emotional state as he lands in LAX and slowly lets the situation sink in as he’s finally able to live a normal life and be with his kids again.

7. “No Time for Caution” -Interstellar

Interstellar is no doubt Zimmer’s best overall ensemble of scores with “No Time for Caution” perfectly capturing the intensity and high-stakes of the scene, as Matthew Mcconaughey’s Coop and Anne Hathaway’s Brand attempt the impossible by docking onto the rapidly rotating Endurance.  

https://www.youtube.com/watch?v=TV1767i8X4Q

6. “Elysium”, “Honor Him”, “Now We Are Free”- Gladiator

Yes, this is not one score, but three.  However, the scores build off one another as “Elysium” evokes a celestial feeling as Russell Crowe’s Maximus lies in the sand, looking out at his dead family he’ll soon join.  “Honor Him” takes a step back from the mind of Maximus by illustrating the emotion of the Coliseum and sorrow of the audience as the great gladiator’s life is coming to an end.  Finally, it all comes together at the film’s close when Lisa Gerrad’s vocal harmonies increase in pace as does Zimmer’s sound inducing a melancholy, but more uplifting feel as Maximus reunites with his dead family.

5. “A Watchful Guardian”- The Dark Knight

Christopher Nolan’s The Dark Knight trilogy is hands down the magnum opus of the superhero genre.  Arguably the best moment in the entire series, besides any scene with Heath Ledger, is the end of The Dark Knight.  It’s here that Batman becomes, as Commissioner Jim Gordon describes, “the Silent Guardian, Our Watchful Protector, A Dark Knight.”  Throughout this ending scene, it’s Zimmer, not Oldman, who makes this moment the best of the trilogy.   

4. “160 BPM”- Angels and Demons

Back in sixth grade I went on a summer vacation with my family to Michigan.  In the previous weeks leading up to the trip, my family was consumed by Dan Brown’s religious thriller Angels and Demons.  As someone who grew up Catholic and was fond of the historical aspect of Catholicism, I instantly fell in love with Brown’s book as the story’s pace rapidly shifts around a series of murders in Vatican City.  Director Ron Howard adapted Brown’s book, and picked Zimmer to score the film.  Zimmer flawlessly mimics the pace of the book in “160 BPM” with a raucous chorus and bombastic instruments.

3. “S.T.A.Y.”- Interstellar

Before telling Zimmer any of the major plot points of Interstellar, Christopher Nolan tasked him with scoring a thematic piece for the entire film based on a note Nolan delivered to Zimmer illustrating a father-son relationship.  From there, Zimmer crafted the entire ensemble of scores by himself while Interstellar was in production.   This thematic piece is S.T.A.Y., the cornerstone of the father-daughter relationship in Interstellar.  It’s in this song that the audience truly connects with Cooper.  Regardless of being lost in dimensions, the simple-heartfelt, consistent back and forth rhythm is extremely touching.  

2. “The Oil”- Dunkirk

Structurally, Dunkirk can be a confusing movie.  Nolan tells the evacuation through three different narratives that are distinguished by location and time.  Throughout the movie, the narratives oscillate back and forth sometimes revealing events in one narrative before they’ve yet to surface in another.  The climax of Dunkirk occurs when all three narratives sync in location and time resulting in arguably the most cathartic moment in cinematic history.  Zimmer’s score, “The Oil”, brings this unprecedented moment to life with a steady horn that exponentially gets louder as the narratives become solely one storyline.  When that moment comes alive on screen, I recommend turning your volume up to full blast.

https://www.youtube.com/watch?v=6SpdtWx8__s&t=135s

1. “Chevaliers De Sangreal”- The Da Vinci Code

After I read Angels and Demons, I quickly got my hands on the closest Dan Brown book I could find.  Luckily, one was easy to obtain after a controversial appearance in the national spotlight: The Da Vinci Code.  Unlike Angels and Demons, this book represents more aspects of the psychological thriller, questioning topics that for many Christians are absolute facts: Christ’s divinity.  People were angry with Brown for trying to undermine the Catholic Church with conspiracy theories, but they’re missing the point.  Instead, The Da Vinci Code encourages readers to question things in life that are structured as certainties.  

Growing up Catholic, this story opened my eyes to a world where faith wasn’t black and white, but instead a never ending cycle of doubt. But that’s okay, as Zimmer’s score “Chevaliers De Sangreal” in Ron Howard’s film adaptation perfectly captures the idea that faith isn’t believing in historical truths, but rather a feeling.     

The post Breaking the Fourth Wall: Best of Hans Zimmer appeared first on KRUI Radio.

My assignment of watching a movie each day this year has taken a serious blow. Professional football season has begun. I enjoy just about every major sport including college football, but when the NFL season starts, it seems that all I have time to do is either watch football, analyze football teams, or watch talking heads overanalyze football teams. Still, this movie thing has got to get done.

I could have just watched a bunch of football movies, but any of the ones worth watching are about high school or college ball. God knows I am not wasting my time writing about Draft Day. So instead I decided to look at my list of movies and see which ones resemble which teams in today’s NFL landscape. I am a bit of an asshole when it comes to football, so if I go hard on your team, sorry. Just keep in mind I’m a Detroit Lions fan.

The Dallas Cowboys are the entire modern DC Comics film franchise. America’s Team. Not a great nickname considering most people you know probably find the Cowboys and their fans to be insufferable. Year after year, the Cowboys come out of training camp as one of the most hyped teams in the league. Even when their quarterback breaks his back in the preseason and they have quite literally no defense, they are still supposed to win it all.

Just like Man of Steel, Batman Vs. Superman, and now Suicide Squad, it seems impossible for the Cowboys to live up to the hype. These movies (and the Boys) always come primed and ready to become financial successes, but no one really made sure to bother that they would be good or even entertaining. Yes, I am very excited for 2017’s Wonder Woman, and yes I still think the Cowboys will suck next year.

The Baltimore Ravens are director Ridley Scott. Both have celebrated and storied pasts. Both won their respective industries’ highest honor in early 2001 when the Ravens won the Super Bowl and Scott’s Gladiator won the Oscar for best picture. Most important of all, no one has any idea what to expect of their next effort. Scott’s last movie, The Martian, won awards, made tons of money, and was hailed as an unmitigated success. He is also responsible for instants classics such as Blade Runner and Alien. Recent flops however, like Prometheus and Exodus, have shaken viewers’ confidence much like the Ravens’ last season. Much like Scott’s recent films, the Ravens could go 6-10 with a sluggish season or 10-6 with a playoff berth or better.

Finally, my Detroit Lions are the film Requiem for a Dream. Year after year I find myself coming back to football just as excited as the year before, even though my favorite team is historically one of the worst in the NFL. They were the only team to post a winless 0-16 season after all. Much like the lives of four people who are tragically ruined by drugs in Requiem for a Dream, my world seems to come apart each fall. I keep coming back to my Honolulu Blue-clad team with high expectations that are set simply to be crushed almost instantly. The fact that I can even make a comparison between being a Lions’ fan and a drug addict shows just how bad my team is. At least I will have more time to watch movies when they start the season 1-7 and the sweet high of football season wears off.

For those interested to take a look back into some of the greatest football matches, then you should take a look at the history of St James’ Park here.

Watch and Talk is a column that discusses movies. They are not always reviewed, but are simply talked about. Watch and Talk looks at the various cultural aspects and impacts of films.

The post Watch and Talk: Are You Ready for Some Football? appeared first on KRUI Radio.

Summer movie season: that time of year when big budget studios throw all of their money behind the next generic, bland, product-pushing mega tentpole movie. Even with all the cynicism I treat blockbuster season, I must admit I love it.

Or maybe it is more of a love-hate relationship. Past Summers have given us Oscar winners such as Gladiator, pitch-perfect comic book adaptations including Spider-Man 1 and 2 and X2, as well as many Pixar favorites that if you don’t love, you obviously have no soul. With the good however, comes the bad. For each Dark Knight, there is a Battlefield Earth. All the Toy Story movies in the world can’t make up for any amount of Superbabies movies. So let’s see how 2016 stacks up.

Unsurprisingly, there is no shortage of action-driven “family friendly” movies that have hit theaters this Summer. While I love a solid popcorn movie more than most, it pains me to say there are not many diamonds to find this year in a sea of turds. Still, Captain America: Civil War was a perfectly crafted and solid piece of entertainment, and not without a certain level of emotional heft. Marvel finally realized that they can’t craft villains that are worth the shiny CGI they are made out of so they pitted our two favorite action heroes against each other. The result was a fast and fun film with kinetic action sequences with a physical sensibility reminiscent of a Paul Greengrass film. It succeeds where Avengers 2 failed in terms of giving its characters actual stakes. The whole world isn’t going to be destroyed, but the relationship between Cap and Iron Man takes a rather dark turn that gets viewers’ attention and actually makes us care.

X-men Apocalypse, alternately, is a hollow shell of a movie that makes me sad that I was ever so pumped for its release in the first place. Cards on the table, I love the X-men movies. It is easily my favorite comic book franchise and if anyone was going to enjoy Apocalypse it was going to be me. On a surface level, sure, it hit some of the right beats. Fassbender and McAvoy make a great leading pair and the Quicksilver showcase, much like the segment in Days of Future Past, never ceases to amaze.

However, there are too many boring characters, the plot meanders way too slowly, and the film has a huge villain problem. I’m not even sure what Apocalypse’s powers are supposed to be. I know it’s definitely not picking good henchmen. If you think an alcoholic teenager with bird wings is one of the strongest mutants in the world, you are going to have some crappy horsemen helping you usher in the end of days.

And speaking of Horsemen! The film no one was waiting for (and no one really asked for), Now You See Me 2.

If I ever meet someone who was rabidly anticipating this sequel, I will let Chris Angel levitate me in front of a bus. I see myself as a just-go-with-it kind of movie goer. When everyone is asking “Did the top keep spinning?”, or “Was Deckard actually a repilicant?”, I find myself saying “Who cares that movie was awesome!” That being said, there is only so much I’m willing to forgive.

Now You See Me 2 maybe works on a surface level of pure visual entertainment if you like crappy sight gags. Not much else is worthy of your attention. The movie is like a big ugly Christmas sweater: fun to laugh at for a bit, but once you pull at one thread, the whole thing falls apart. The slickest sequence in the film, where the Horsemen throw around a playing card with a valuable computer chip attached to it, loses its audience once you realize the entire sequence had no purpose in the plot of the film. Director Jon Chu hopes to literally distract his audience with slight of hand and tired card tricks. Sorry Jon, no one thinks magicians are cool.

2016’s blockbusters are mainly just busts, it seems. While it may be difficult to single out many bright spots in the lackluster tentpole films, there is some smaller budget fare that makes the season much more bearable. Even though it had a very brief run in theaters, Popstar: Never Stop Never Stopping was easily one of the most entertaining, if under-watched films of the summer. Popstar functions as a Spinal Tap for today’s generation of pop mega-star obsessed fans. Or it works for people like me who love making fun of such folks. Being mean-spirited is fun!

Popstar is not for everyone. Its delightfully foul-mouthed and gleefully inappropriate approach to comedy may find some viewers out of their comfort zone . Andy Samberg is locked in as the Bieberesque protagonist who just wrote and produced his second album with tracks that range from how humble he his to a song made up entirely of catch phrases. The music alone is worth the watch.

Finally, Summer was good for my favorite movie of the year so far, The Nice Guys. Shane Black shows off his expertise as a buddy cop filmmaker who excels at showing off different sides of Los Angeles. I love when movies are able to show unique sides of settings we have seen many times before, and The Nice Guys runs from Beverly Hills-style L.A. to grimy urban alleyways to classy Hollywood parties. The film is anchored by Russell Crow doing his best tough guy with a heart, but the star is Ryan Gosling.

Most people have come to expect a lot of good looks and charm with some sly talk from Gosling, but the man has serious comic acting chops. His delivery, timing, and especially physical acting went well above what many comic actors are capable of. Some might say the movie suffers from plot issues, mainly in that its plot really doesn’t matter. Sure, but when it’s so damn enjoyable to watch the two leads play off each other in a delightfully dark setting, who cares?

So, would Commodus give this Summer a thumbs up or down? Probably more like a “Meh…”. While there are certainly films to enjoy I’m finding a lot more movies that really shouldn’t have seen the light of day. Maybe I’m just spoiled from last years smorgasbord of Mad Max: Fury Road, Inside Out, Trainwreck, Mission Impossible: Rogue Nation, and way too many other fantastic films. Or maybe I just expect too much from summer movies. All I want to do is be excited and eat popcorn. “Are you not entertained?” No Marcus Aurelius, not so much this year.

Watch and Talk is an alternative look at film. It is a column that discusses movies from all different genres. Movies are not necessarily reviewed, they are simply talked about. Watch and Talk looks at not only the entertainment value of various films, but also the cultural impacts and aspects that films can have.

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