Showing posts with label fall. Show all posts
Showing posts with label fall. Show all posts

Friday, June 26, 2026

Die Hard on a bus ... Fall on a shark

We all know how Speed was originally pitched as "Die Hard on a bus," right?

Whether that moment was real or apocryphal, we know it as a prime example of how movies are pitched to someone who has the chance to greenlight them. This hypothetical pitch hypothetically occurs on an elevator up to the office of the person who's making that decision, so they don't have very much time to receive it before they have to turn their attention to indisputably more important things. So it has to be quick, like 20 seconds or less -- or in some cases, just five words.

The other common way of pitching something, other than "such-and-such popular movie in a different setting," is "such-and-such movie meets such-and-such movie," like "Terms of Endearment meets Mad Mux Fury Road." But we only care about the first one today.

The movie I saw last night? Yeah, it's "Fall on a shark."

If you're having trouble remembering Fall, well that's too bad for its producers, who are relying on your memory of it in order to release Fall 2: Deadpoint in September.

But in case you are, here's its poster:


Which really tells you everything you need to know about this particular movie in one image. Making it like a good elevator pitch in that way. 

What do these two posters have in common?

Well, you can hardly see her in the Fall poster, but you can see her better in Killer Whale. That's Virginia Gardner, the blonde, who is the star of both movies. 

I can tell you the other reasons that Killer Whale is "Fall on a shark," but first I'll have to give a big fat SPOILER WARNING for both films, but perhaps more importantly -- and first, to give you time to avert your eyes -- I'll have to tell you why I'm talking about sharks when the movie is clearly about a whale.

No the movie is not literally about a shark. But it's about the sort of threat traditionally posed by a shark, and in that case, this whale is a "shark," especially in the quick and dirty terms that are required to give this studio executive instant clarity on the project he's about to greenlight and how much money it will make him. (Or her, but usually him.) Besides, you can't use the same word in the title as you use in the pitch. Saying this movie is "Fall on a killer whale" and then calling it Killer Whale is kind of like saying it's "Die Hard on a bus" and then calling it Speed Bus.

Okay so the similarities.

In both movies, two young women in their late 20s/early 30s -- Gardner is currently 31 -- set out on an adventure of sorts that leaves them stranded in a place where they have no food/water, no means of communicating with anyone, and no realistic path to safety. In Fall, they are marooned at the top of a comms tower that looks like it's about two miles off the ground, when some of the rusty infrastructure they used to get there breaks off the tower and falls to the earth. In Killer Whale, they've travelled by jet ski to a remote Thai cove with some little clumps of what could generously be called islands, one of which becomes their home when a killer whale comes through and tries to start mauling them. 

In both movies, they come up with a variety of strategies to try to get off this island, each increasingly more desperate, each doomed to failure in the short run.

In both movies, one of the women is trying to forget a recent tragedy in which their boyfriend was killed. For the character in Fall, it's an opening rock climbing death, which makes it very similar in structure to both the recent Apex and the long-ago Sylvester Stallone vehicle Cliffhanger -- oops, spoilers for Apex and Cliffhanger, but you can see it coming from a mile away. For the character in Killer Whale, it's a robbery attempt that led to her boyfriend being hit by a car going full speed -- yes, another bad trope. (So yes, he survives a struggle with a gunman only to be hit by a car. It's a bit much.)

And in both movies, the friend who isn't going to make it -- because come on, they can't both make it -- is guilty of some sort of transgression against the friend who is going to survive. In Fall, it's having slept with/had a relationship with the boyfriend who died. In Killer Whale, it's having set up the robbery attempt, when they thought no one was supposed to be there. Anyway, they pay for it by becoming whale food or gravity food.

Biggest difference? Gardner plays the bad friend in Fall and the good friend in Killer Whale. What range! I guess she didn't want to be typecast?

Next biggest difference? One movie is pretty good and the other movie is terrible! 

Yes, I was not a Killer Whale fan, but I suspect not many people are -- which doesn't mean it won't be a hit on Netflix, or hasn't already been. I mean, if a sophisticated cinephile like myself prioritizes seeing Killer Whale, just think about all the people with less discerning tastes and how quickly they'll go for it. 

But truly, this is one of the year's worst, and if you want other tropes this movie uses and abuses in terms of its credibility, it's the scene where a character holds her breath underwater for, oh, eight or nine minutes. And when she returns to the surface, it really just takes one big gulp of air to regain her equilibrium. (It might have helped if she was supposed to be some sort of underwater pro, but the things we know about her is that she used to be a concert cellist but that she required hearing aids after the shotgun blast in the robbery attempt.)

I thought Gardner was quite good in Fall, but she's terrible here, which just goes to show you the importance of a good director. I don't know either Fall director Scott Mann nor Killer Whale director Jo-Anne Brechin from a hole in the ground, but from the evidence, it would appear Mann is good at his job and Brechin is not good at hers. 

Last catty comment: The set involving the little island clump the characters are stranded on is more of a set than any set I have ever seen in a movie, ever, even the ones back in the 1920s and 1930s where you knew it was impossible that it was anything other than a set. 

But you know, maybe see Killer Whale if you want a few laughs throughout. Shamu playing the role of a killer is never not funny. (I said the previous one was going to be my last catty comment. Oops.)

Sunday, January 29, 2023

The 2022 movies that contributed to my 2023 mix*

* - And one not from 2022

Every year, when I finally finish the business of the previous movie year, I get to a project that now feels like it's bursting at the seams, waiting to be completed: I make my annual mix.

It's actually a mix for exactly two people. It was only one until recently, but last year I added a second since he's also a close friend and the two of them were making mixes for each other. In fact, the guy who has been reciprocating with me for something like 15 years now was giving the same mix he made for me to this other guy -- though I suppose he could have been making it for him and giving it to me. I like to think he had both of us in mind when making it, but let's be honest -- you make a mix more for yourself than you do for anyone else, because there's a good chance you'll end up listening to it more than the recipient. 

So last year, I decided to start sending my mix to the third guy and have him send his mix to me. Now I get exposed to twice the new music every year without any additional effort on anyone's part.

I don't know how many nearly 50-year-olds -- one actually turned 50 yesterday, the other does so on March 1st, I do in October -- still make mixes. But I never want to give it up. It allows me to use my sound editing software Audacity, which I love, and it keeps me engaged with music on a year-round basis, as I spend the year collecting contenders for the following year's mix. The editing software comes into play because I like to string the tracks together to blend into one another (where appropriate), or so there's no pause between songs with a hard ending and a hard beginning. Then I export it as one 80-minute track and chop it up into proper tracks using the same software. (The 80 minutes comes from the capacity of a CD, and even though we don't send each other CDs anymore, it still feels like a good length for a mix.)

My song candidates come from a number of places, obviously, the most common being the radio. I'll Shazam a song I like, email it to myself and add it to the Excel spreadsheet where I log my candidates for each year's mix. This year I ended up with 73 candidates for what ended up being 23 songs, down from 80 last year. 

But each year, as a benefit of watching in excess of 150 new releases, I also Shazam songs in movies. If I did not, I probably would not be writing about it here.

I swear I've written about this on this blog before, but using the key words "shazam" and "mix" did not find it for me. Well, the next time I do that search it'll at least find this post.

I was inclined to tell you all the songs I've ever selected from movies for one of these mixes, and someday that would be a good post -- then I could also tell you the five best. But that's more work than I have time for today.

So today I'll just tell you which ones contributed this year.

The interesting, and probably obvious, thing is that a movie doesn't have to be good to contribute a song to my mix. In fact, I learned about the banger "Dance Off" by Macklemore featuring Idris Elba from the movie He's All That, which came in at #164 out of 170 last year. There aren't any that low this year, but they do represent a range in my rankings -- with one not actually coming from a 2022 movie, as I teased earlier. 

Here they are, with YouTube links in case you want to check out the songs. I'll go in order of where these movies ranked for me:

1. "Quietly Yours" - Birdy
Film: Persuasion (#59)
Track #: 21 of 23

A quiet, pretty, piano-driven ballad like this has to go near the end of the mix, and there can be at most two of them in any given mix. In this case, the song itself, which plays as the camera draws out from two lovers on a coastal cliff at the end of the movie (no spoilers), was almost responsible for tacking on an extra half-star to Persuasion. I am a sucker for this sort of sentiment in a song, with the piano and Birdy's beautiful voice turning me into putty in both the singer's and the movie's hands.

   

2. "I Have Never Felt More Alive" - Madison Beer
Film: Fall (#65)
Track #: 8 of 23

This also plays over the closing of Fall, if memory serves, again in a situation where the camera pulls out. This, however, is more of an empowerment song, driven by increasingly industrial synthesizer as the song progresses. This is not only a story of literal survival, but of surviving a relationship betrayal, and the lyrics go well with that. Track 8 is usually a part of any mix where I'm still supposed to be giving you a bit more of a fun, party vibe, but what can I say, there were not as many fun, party vibe songs in this year's mix. 

3. "Barbarian" - Besomorph & Jurgaz
Film: Tar (#88)
Track #: 14 of 23

The song "Barbarian" is not from Barbarian. Who knew? My memory betrays me a little on this one because I was going to say this was from the closing credits of Tar, but then I remembered that Todd Field puts most of the credits at the start of this movie, so I don't know for sure what the context was. But there's something icy about this, which perfectly encapsulates Lydia Tar's fall from grace. It's the only instrumental on my 2023 mix. (I usually have two or three.) Track 14 is a good part of a mix to be dwelling in the dark before either becoming lighter or more romantic by the end. 


4. "String You Out" - Zarah Mahler
Film: The Wretched (from 2020)
Track #: 7 of 23

I said there would be one movie I saw in 2022 that didn't come out in 2022, and here it is. It's probably my favorite of the four -- so sinister! But also playful; I love those vocalizations by Mahler, who impressed me because she is also an actor in the film. It's a mediocre horror that had some things I really liked about it. (It actually prompted a second Shazam of a song I didn't use, even though it's quite good, just because I ran out of room and there were too many similar songs. That's Joypopp's "Desire.") See previous comment about the need to have a more uppy vibe in the first ten tracks, and the lack of such songs this year, but at least this is also a banger. 


When I decided to write this post I really hoped there would be five, but I came up one short. 

But just to give you some additional insight into my tastes and my process, I might as well give you the honorable mentions -- songs I Shazamed but ultimately didn't use. That list is much longer:

"Impossible" - Shontelle, from Sharp Stick (#98)
"Ready" - Montaigne, from Good Luck to You, Leo Grande (#83)
"Sometimes" - Erasure, from Fire Island (#28)
"We're All Going to the World's Fair (Main Theme)" - Alex G., from We're All Going to the World's Fair (#75)
"Wolf Like Me" - TV on the Radio, from Wendell & Wild (#22)
"Born Again" - Rihanna, from Black Panther: Wakanda Forever (#25)
"The Girl in the Window" - Mark Lenover, from Banshee Chapter (released in 2013)
"Hot Girls" - Charli XCX, from Bodies Bodies Bodies (#26)
"My Power" - Beyonce, from The Woman King (#128)
"Assassin Montage" - Ramin Djawadi, from The Man from Toronto (#143)
"Topdown" - Channel Tres, from Emergency (#20)
"Glide" - Mitski, from After Yang (#29)

Thanks for letting me nerd out on music there for a minute. I'll go back to nerding out on movies tomorrow.