Tag Archives: Scream

The Top 5: Opening/Title Sequences

Dead or Alive

Guns, sex, sodomy, coke, blood and noodles – absolute madness from Takashi Miike.

Watchmen

A slow-motion brief history of The Minutemen/Watchmen leading up to the events of the film. The choice of Bob Dylan’s The Times They Are a Changin’ is inspired.

Unfortunately the audio on my video has been muted due to a copyright law but you can also find it here at trailersland.com with audio included.

Scream

Wes Craven’s seminal teen horror has one of the most shocking beginnings. Not just because of the graphic violence, but also because he killed off a big name star straight away.

Once Upon a Time in the West

One of the longest opening/title sequences in cinema history, but its length and slow pacing doesn’t stop it from being one of the most lauded starts to a film to date.

This clip only features the tail end of the sequence where Harmonica (Charles Bronson) takes on the three gunslingers who have been waiting for him.

The Dark Knight and The Dark Knight Rises

Okay, I’m cheating a little but I couldn’t pick one over the other – so here are both!

Obviously inspired by Michael Mann’s Heat and countless other bank robbery scenes in film, this opening sequence to Christopher Nolan’s masterpiece makes the list not only because it’s a thrilling start to the film, but also because it was the first time we all got to see Heath Ledger’s Joker in the flesh.

Nolan had his work cut out for him trying to top his previous achievement. And while he may not have made as good a film for the final part of the trilogy, the opening of The Dark Knight Rises is every bit as exciting as its predecessor. As with Joker’s make-up, we were equally excited to finally see Bane and hear his voice – and what a great introduction it is.

Advertisements

Review: The Following – Episode 1

Kevin Williamson has done it again. And he has done it by using the same conventions as he did so many times before with his genre re-defining film work.

The conventions? – clichés, those half-predictable yet somehow engaging narrative twists and the treading of a thin line which fits snuggly between pastiche and parody.

Much like The Faculty and the Scream series equally mocked and celebrated the teen-slasher genre, The Following is well aware of the pitfalls and tribulations of the serial-killer genre and it uses them to its advantage.

TheFollowing

James Purefoy is the ‘always one step ahead’ serial killer who uses the work and ill-mentality of Edgar Allen Poe as his inspiration/excuse.  Kevin Bacon (in his first TV leading role – if you don’t count the ‘Bacon adverts‘) is the former FBI detective who originally put him behind bars, and is brought back from a semi-disgraced, alcohol-fuelled wilderness to track him down once more.

The formula is one which has been recycled time after time, but somehow creator Williamson injects it with enough intrigue – namely, shocking, sudden violence and the odd not-so-predictable twist – to keep us happy until the second episode at least.

This first episode – with more flashbacks than a series of Lost on LSD – hurried along in a bid to squeeze in as much backstory and character development as possible. Although this did ensure our interest piques enough by the end to return next week,  when you find yourself trying to play catch-up with some rapid, spurted-out dialogue, it feels like the brakes could have been pressed on slightly.

The erratic pace aside, The Following offers the promise of at least a series worth of thoroughly engaging, edge of your seat games of cat and mouse.

So the scene has been set. Some characters have already met a gory end, others have taken sides. Next week and beyond we will see how long Purefoy’s incarcerated puppeteer can inflict pain and suffering before Bacon cuts his influential strings of madness once and for all.

68/82