Sentences with phrase «funk soundtrack»

Director Sagal (Night Gallery, Girl Happy), working with the script by the Corringtons (Battle for the Planet of the Apes, Boxcar Bertha), brings Matheson's story to the 1970s, complete with hip jazz - funk soundtrack, blaxploitation elements, and hippie jargon and tie - ins.

Selznick simply isn't that good of a screenwriter, constantly having his characters write something down, show it to the screen and then say it out loud in a maddening dollop of redundancy, and Haynes often gives those sequences a bizarre 70's exploitation feel with afros aplenty and a glaringly terrible funk soundtrack that makes you pine for the silent era all the more.

Not exact matches

May 17, 2018 • Inspired by Public Enemy's discography, Brownout's latest batch of Latin funk covers is an instrumental soundtrack that recalls the grooves of late 1970s.

A two - minute HD theatrical trailer uses percussive cutting and a funk - punk soundtrack to suggest something more kinetic than the movie we got; and a two - minute HD teaser is much the same, only with in - character narration by Boliveira.

Released on July 29 by Polydor / UMe, «Get on Up: The James Brown Story (Original Motion Picture Soundtrack)» has studio and stand - out live versions of Brown's top soul / funk hits — from his first, 1956's «Please, Please, Please,» to «Out of Sight,» «I Got You (I Feel Good),» «Try Me,» «Papa's Got a Brand New Bag,» «It's a Man's Man's Man's World» and «Get Up (I Feel Like Being a) Sex Machine.»

Some terrific songs on the impossible to get soundtrack (believe me, I've tried) by jazz / funk maestro Roy Ayers are in the mix here, which actually is why I watched the film to begin with.

by Walter Chaw Yôko Kanno's soundtrack for Cowboy Bebop: The Movie (hereafter Cowboy Bebop) is a jubilant a blend of funk, jazz, blues, soul, and punk that soars even though it's a pale shadow of the «bebop» innovated by Charlie Parker, Dizzy Gillespie, Thelonious Monk, and Bud Powell (and Kenny Clarke and Max Roach) in Minton's Playhouse in the early 1940s.

And any current film with no less than three funk jams on the soundtrack, including the opening song, can't be all bad in my book.

Director Steven Soderbergh (Solaris, Traffic) does still score many points in the style department, with a hip funk - jazz soundtrack, cool retro vibes, and camerawork that has a dash of European new wave cinema elements.

The atmosphere is convivial and lively, thanks in part to an accompanying blast of free jazz from legendary saxophonist Idris Ackamoor — one in a number of surprising soundtrack cues, ranging from deep funk to blues, that pockmark the piano - driven score by composer David Shire.

To begin with, the soundtrack is great — it's like an electro - funk style soundtrack which strangely matches the feel of the game.

The game's tracks are a mix between funk, electronica and hip - hop, something extremely reminiscent of Jet Set Radio, but dare I say it, even better than that game's soundtrack.

The brash flat - shaded visuals and funk jam soundtrack accentuate the exploitation feel, and there is some brilliantly dark humour hiding behind more conventional period references.

Old School Racer has a great soundtrack that brings funk and rock into the mix.

Composed by Koichi Namiki, Katsuhiro Hayashi and Tohru Nakabayashi, both soundtracks adopted an ambitious funk and fusion style, simulating an impressive range of real world instrumentation (think synthesizers, drums, slap bass and cowbells), which for its time and hardware limitations, is nothing short of astonishing.

Meanwhile, Cafe Baron is the place to enjoy a funk and soul soundtrack to your imbibing, describing itself as, «A place where music matters and everybody knows your name».