Only the ambient hum of a highly unconventional,
effective synth score by The The could count as a standout element of a thriller that otherwise borrows relentlessly from the recent past.
Not exact matches
Shot with a painterly genius for night lighting (all muted greens and blues) by Adam Greenberg and
scored with an insistent throbbing by Eighties
synth group Tangerine Dream (who provided a similarly
effective score for Steve DeJarnatt's criminally underseen Miracle Mile), this pair of moments makes up the backbone and the soul of the film: the one serving up the drug theme, the other that feeling of consumptive eroticism.
«Eating» is the film's most notorious sequence, and was I imagine very hard to
score well, but Howard did so, musically conveying a range of emotions, using
synth pan flutes to provide the inevitable,
effective awkward feeling underpinning the longing and desire represented by the flute and violin parts.
Killers human and supernatural rampage through this impressive black box, as Jay Chattaway's gritty «Maniac» brings 80's NYC
synth sleaze to Joe Spinell's sweaty mannequin lover, while Michael Convertino's strikingly original
score to «The Hidden's» body jumping alien slug still stands as one of the genre's most bizarrely percussive and
effective soundtracks, samples creating a sound that's violently otherworldly, which also capturing the haunted spirit of the relentless E.T. cop out to bring him in.
Once again, the soundtrack is absolutely superb, a
synth heavy
score that evokes the films of John Carpenter, and the cries and moans of the shuffling undead are more than
effective in raising the hackles on your neck.