A raft of end titles this time around (ie. opening style credits at the end). I must say that I have a fondness for films that encourage you to stay in your seat just a little bit longer by adding just a little something to that end crawl (also, typically, interesting end titles mean interesting music choices).
Soul Kitchen (2009 - Fatih Akin) - Speaking of great music selection, a prime example is Fatih Akin's comedic follow-up to a couple of critically well-received, but very serious films. "Soul Kitchen" may have surprised and even disappointed some, but I had a great time with it's wild abandon and tales of different ways to satiate your soul. The entire soundtrack is pretty butt-shakin' (including the outro) and these splashy end credits are a perfect high energy way to end the party. While you're tracking this down (and you really should - I believe its on NetFlix in Canada), try to find his earlier "In July" (from 2000) which is a really solid rom-com-road-movie.
X-Men: First Class (2011 - Matthew Vaughan) - Though I understand the feelings of several friends who dislike "X-Men: First Class", I greatly enjoyed the cartoonish aspects of its approach to telling yet more of the origin stories: enough to set it in the proper context, but never quite over the top in its goofiness. The simple geometric patterns of DNA and genes in these credits, along with the slightly muted splashes of colour, were an appropriate and welcome way to finish off this fun mutant superhero story. They also highlight the importance of the small genetic differences the mutants had (in comparison to the rest of humanity) that manifested themselves in such large ways.
Black Dynamite (2009 - Scott Sanders) - A movie this fun needs titles that match it, so the team behind the fabulous blaxploitation spoof "Black Dynamite" transferred their film's hero into their credits and gave him free reign to beat the living crap out of them. Given the tone and surprises of the film, it makes for a fantastic final set of jokes that would've meant far less at the start of the movie - though they are so good they can stand alone as well.
Bourne Ultimatum (2007 - Paul Greengrass) - I considered not including these since their key element (along with the identical in nature ones from the previous two parts to this series) is motion - the constant motion of lines and shapes moving from one graphic to another that twins Bourne's own constant and restless movement (here is the full credit sequence). Though they are all created as graphics on computer, the titles feel like a single take as there are no distinct "edits" to a new scene. Each line or shape morphs into something new depending if we are following it, zooming in or pulling out. With the same Moby tune ("Extreme Ways") closing off each film, it keeps a nice through line going across the three segments. Since Paul Greengrass kept that concept from Doug Liman's first film, it'll be interesting to see if Tony Gilroy continues it for the new fourth installment ("The Bourne Legacy").
Machete (2010 - Robert Rodriguez) - Simple and kinda perfect considering the kind of exploitation B-movie film "Machete" was trying to emulate. I didn't love "Machete", but I can't help but want to see "Machete Kills" and "Machete Kills Again".
5 comments:
I can confirm that Soul Kitchen is on Netflix Canada and echo Mr Bob's sentiments as it is a fun flick with a KILLER soundtrack (also available on iTunes)
Appreciate the "Mister" title - I so rarely get the respect I truly deserve...
And I really do defy anyone from not shakin' their rump to that badass soundtrack.
Of possible interest as a variation on how to do titles is Herman Yau's The Turning Point, which alternates between shots of the stars with their names (especially helpful for those who might not know Anthony Wong from Eric Tsang), with the production crew credits.
And yeah, saw Soul Kitchen theatrically. As it turned out, that was the last time I went to that particular theater, inside a mall that has since been demolished, which showed some films that otherwise would have not been seen in Denver.
Love SOUL KITCHEN! And IN JULY! Fatih Akin is one of my favorite German directors, and I like that he's shown a range in his film output while still maintaining certain personal themes (mainly kickass music and German/Turkish relations and culture). And yes the soundtrack is great! Excellent choices with BLACK DYNAMITE and MACHETE here, too.
I love when movies have fun with the end titles. It's something I really appreciate about Pixar films, which usually have beautifully animated end credits sequences.
Peter, I do like that idea for credits from Yau. By the way, that guy seems incredibly prolific. From IMDB he seems to be averaging 3 films a year for the past decade. I've only seen "Gong Tau" by him - a mix of good and blah, but certainly with a sense of fun.
Alex, I knew I could count on you to also like "In July"! I kinda want to see it again right now...WALL-E has amazing end titles - I had a separate post awhile ago just on that topic (comparing several screens to actual paintings by Turner, Seurat and Van Gogh).
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