Sentences with phrase «use of pop songs»

Also, taking into consideration Boyle's use of pop songs in Trainspotting I was half - expecting Sunshine to at least feature Pink Floyd's «Set the Controls for the Heart of the Sun» and Violent Femmes» «(Let Me Go Out Like) A Blister in the Sun».

Cold Water, from Olivier Assayas, looked at first like a knockoff of Léos Carax — same inarticulate youthful characters in desperate love, same nowhere landscapes, same slashing use of pop songs — but without Carax's bursts of ecstasy.

Most other filmmakers can only hope to capture its achingly realistic evocation of community between young boys, lush cinematography, exquisite feel for landscape and perfectly melancholic score and use of pop songs.

Not exact matches

Some ministers have used popular songs and have quoted them, and a lot of people say «that's a good idea» and then they hear it's a pop record and they get kinda flustered.

Eric Apler, founder of Name Your Tune, a company that produces custom music CDs for children using the children's own names in the songs, shares that once popular celebrities have babies, those celebrity baby names pop up more often.

«The song and performance are banal, obvious and, to use a transport analogy, utterly pedestrian,» said the Daily Telegraph's pop critic of their jaunty sub-Kinks single Piccadilly Circus.

While we've been using Taylor Swift's weirdly - similar - to - our - own - life breakup songs to get over the short but significant list of Average Joes we've dated Country - pop powerhouse Taylor Swift has been sporting a new Taylor guitar on her latest tour: a ruby - hued 614ce to color - coordinate with her RED album.

Cheesy dialogue is mouthed, cheesier situations are muddled through, and pop songs from the 70s are used in ways that are nothing short of mystifying.

I twisted in horror at the use of some modern pop songs that were used here and there, that really spoilt the atmosphere, but twas nice to hear Ennio Morricone's «Ecstasy of Gold».

Often it's a pop standard that she's adopted for her own use, but one never has the sense that she's hijacking the intrinsic emotionality of the music to compensate for an absence in the filmmaking — rather, it's as though the rest of the film has been built out from the kernel of the song.

Jammed with fragments of rock and pop songs, many of them used with ironic intent, The Hangover tries to simulate the sensation of being hopelessly confused and still a bit groggy.

The movie stop - starts between fight - chase sequences played out against pop tunes from Quill's beloved mix - tape; there's something a little alienating about the repeated use of dissonance between the cheery songs («Come a Little Bit Closer» by Jay & The Americans) and the slomo violence meted out by the Guardians.

Despite their losses, they are soon discovered and promoted by a used car salesman named Curtis (Foxx, Miami Vice), who sells everything he has to put all his effort into promoting the act to the top of the pop charts, utilizing songs written by Effie's brother, C.C. (Robinson, Fat Albert).

As it turns out, the relative skill with which Tully has been assembled — with kudos to cinematographer Eric Steelberg for his dusky color palette; editor Stefan Grube for some metronomically precise cutting in a series of domestic montages; and, yes, Reitman the Younger for using pop music more adroitly than usual (notably a suite of Cyndi Lauper songs to score a nighttime drive to Brooklyn) and actually locating and maintaining a non-obnoxious tone for the duration — is beside the point.

«Good Time,» then, juxtaposes Connie's treatment of his brother and of a stranger, but most of all is a high - tension picture with bold use of music and songs, including Iggy Pop's «The Pure and the Damned,» and assorted electronica — which could make the picture a Best Music nominee at awards time.

The use in the films of songs from Hungarian pop band Kispal es a Borz helped the films gain cult status.»

Using covers and mash - ups of famous pop songs, Snyder feels around for an aural pulse to help set the bleak mood, finding a rhythm to backdrop the chaos.

The soundtrack contains a series of ironically used rock and pop songs, which this reviewer found intrusive and distracting.

The idea is for the filmmaker to make a fictionalized version of his or her own teenage years set in the appropriate period (different in each film) and to include at least one party scene in which pop songs of that era are used.

It also raises the stakes on pop music drop - ins (having a character sing a modern - day pop song in an out - of - context time period) by having the guts to use a Radiohead song.

So it comes as something of a surprise that «Frances Ha» is such an effervescent bobble — a fizzy pop confection that's equally indebted to the French New Wave, Woody Allen and the collection of soul and disco songs sprinkled throughout the soundtrack (has a Hot Chocolate jam ever been put to better use?)

The use of John Denver songs, on the other hand — this movie year's contrapuntal pop callback of choice — isn't as inspired as it was in «Okja.»

The Dolby Digital 5.1 soundtrack is marked by several bursts of life, mostly from the use of familiar pop tunes (see the full list at the bottom of the review) and once from the film's low point, Raven annoyingly leading a bus of Japanese tourists in song.

In a period movie that uses sound and music to distinguish its eras, Haynes leaned on key pop songs to establish tone — for the»70s, he cues up David Bowie's «Space Oddity,» Esther Phillips's «All the Way Down,» Rose Royce's «Sunrise,» Sweet's «Fox on the Run,» and a spectacular deployment of Eumir Deodato's 1973 jazz - funk take on Richard Strauss's Also Sprach Zarathustra.

I try to use all types of music and especially pop tunes that are current — but I have to choose songs with good language and that are positive and motivating.

And for convenience, instead of pop I use pop classics (70's and down), pop 80s, pop 90s, pop 00s and pop 10s, which in my case means that every genre hold about the same amount of songs.

And yesterday, as part of The Tonight Show with Jimmy Fallon, Nintendo Labo was used to recreate an Ariana Grande pop song.

Harlem Shake Down — The viral sensation «Harlem Shake,» which recently climbed all the way to the top of the Billboard 100 pop chart (thanks in no small part to the addition of YouTube views when calculating the rankings), has been hit with some controversy as the song's writer and producer Harry Bauer Rodrigues, better known by his recording name Baauer, illegally used samples from two other artists who are now demanding compensation, including the art world's own Internet sensation: Jayson Musson, a.k.a. Hennessy Youngman, who can be heard on the track urging the listener to «do the Harlem Shake.»

In previous work Philipsz has used national anthems, love songs, pop songs and even the sounds of bell towers in Cork, Ireland, to draw the viewer / listener into an awareness of their own presumptions.

Occupying its own cavelike room in the gallery, which the viewer is encouraged to enter alone, this animatronic sculpture — a buxom blonde woman in a green witch's mask who dances to pop songs while facing a mirror, all the while using facial - recognition technology to follow your eyes — forms the headline - grabbing core of Jordan Wolfson's debut at the blue - chip Chelsea gallery.

The video AAAAAAAAAAAH is sampling a selection of cut - up audio tracks appropriated from pop songs and Islamic azans, that both use the line «AAAAAAAAAAAH» as part of their melodic structure.

Conceptual artist Tony Tasset's new series of paintings and sculptures, Me And My Arrow, references the Harry Nilsson song of the same title and shows his continued interest in using a pop sensibility to tap into shared visual knowledge.

With chart - topping examples, this talk reflects on the use of consumer - behaviour data and neurobiology research in the production of pop songs that are guaranteed to be pleasing to as many listeners as possible, and therefore avoid confronting listeners with songs that they haven't already been conditioned to like.

This idea is also encapsulated in the exhibition title, which references Extreme's 1991 hit song of the same name and continues Dault's use of pop culture references in her work.

She frequently makes use of familiar tunes and pop songs, performed in her own voice and recorded, in order to create an acoustic environment that relates to the particular location in an exhibition space or an urban setting.

It's well - known in the industry that many of the biggest pop producers in the world use this type of model for nearly every song (copy the vibe and chords from a minor hit from the 70s / 80s / 90s, change just enough to avoid technical infringement, write a new topline and throw it on the radio).

I personally wouldn't want to use the Home Mini for music, outside of a few limited circumstances — I could see putting on a few songs while cleaning up the bedroom, for example, but for any longer listening session I'd rather just pop in some headphones than keep the Mini playing.