A movie was viewed recently entitled WELCOME TO THE PUNCH (2013). Despite a cast full of potential (and others with not so much), it was an unremarkable English detective flick. In the second phase of the credits however, somebody in my company was observed jumping up and down as if in a rave. I myself was found to be throwing the odd shape. The volume had jumped to maximum. Now, a very forgettable film will always be remembered. The importance of the music after a film should never be underestimated. This is a last chance to revive something drab and make it stick in the viewers' minds no matter what they thought of the acting or locations.
RUN LOLA RUN (1999) could be played in a trance club. If you like long montages of a red-haired female (Franka Potente) running over the streets of Germany to the sound of thumping tunes then this movie is for you.
THE MATRIX RELOADED (2003) had some fellow cinema goers punching their hands in the air and bobbing in their seats like it was a sit down concert.
DYING GOD (2008) was one of those movies you lend from someone because you’re bored, the best of a bad bunch in their poor collection. It was a latent creature flick. A man in a rubber alien suit appeared at the end for a fight with Lance Henriksen. You just never saw that coming. And as if that wasn’t enough the credits played out with this atmospheric music that justified the rest of the film and gave it a mood. Recorded from the telly and uploaded here for your pleasure.
VEHICLE 19 (2013) started off with trance and a car chase. Paul Walker here on Anvil Samsara is famous for Running Scared (2006) which incidentally has the best end credits animation sequence I’ve seen; the whole movie is condensed into a kind of comic storyboard at the end. We’ve never bothered with Paul Walker in Fast n Furious before (god there are six of them now), just like we’ve never bothered with Bradley Cooper in those Hangover films. Vehicle 19 brought us some sweet South African flavours with it too. It ended with Die Antwoord's Liewe Maatjies on the end credits who sprang to attention four years ago with Enter The Ninja, complementing Teargas's Go Away throughout the flick. Makes a lot of US rap feel pretentious and dated. Both these songs make good use of mixed sex duo lyrics. A man singin' on his lonesome just ain't as much fun.
NINE MILES DOWN (2009) had a superbly uplifting number to close with, All Inside My Head, a blend of dance and metal by Renaissance Rock Queen Renfey. Better than the movie, and the movie was good.