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Barry Gordon started his own production company called Largo, and I think was the first film to come out of that. I’d done Predator 2 with Barry Gordon and Joel Silver, who were partners at the time shortly afterward, they had a very bitter split. In anticipation of this hallowed night of metal, mayhem and E-milio, CoS sat down for a phone interview with Hopkins to discuss the film’s intriguing cult legacy, its soundtrack, and its relationship to the ‘real’ Chicago. This weekend, Judgment Night returns to the city of its setting for its 25 th anniversary, for the Music Box Theatre’s annual festival of genre delights, Cinepocalypse – with Hopkins in attendance. Here, it feels like an album that has kept an underrated genre gem in the cult consciousness, long past its expected shelf life.
JUDGMENT NIGHT SOUNDTRACK YOUTUBE MOVIE
Sometimes it’s a shame when a movie’s soundtrack eclipses the legacy of the movie that spawned it. Throw a stone at a group of white ’90s kids who grew up in the suburbs, and chances are you’ll hit someone who considers that album Their Jam.
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JUDGMENT NIGHT SOUNDTRACK YOUTUBE SERIES
The real catalyst for its rediscovery, however, is usually the film’s chart-making rap-rock soundtrack album, which featured an innovative series of collabs between some of the biggest hip-hop and metal artists of the time (Living Colour and Run DMC, Slayer and Ice-T, and so on). In the case of Judgment Night, that cult appeal is twofold: one, Hopkins directs the hell out of it, injecting a pretty boilerplate chase thriller with seas of ink-black Gothic cinematography and exciting moments of suspense. It’s a grimy depiction of Chicago as an apocalyptic hellscape, with the cinnamon-roll boys at its center struggling to ‘man up’ to survive the bloody night ahead of them.īut cult films are a curious thing – movies can resonate with people long after their initial theatrical run, often for the strangest reasons. A harrowing, stripped-down actioner following a group of Evanston suburbanites ( Emilio Estevez, Cuba Gooding Jr., Stephen Dorff, and Jeremy Piven) running afoul of a crime lord ( Denis Leary) one dark night in the big, bad city of Chicago, the film treads similar territory as Walter Hill’s The Warriors and John Boorman’s Deliverance. B.R.When director Stephen Hopkins’ gritty urban thriller Judgment Night came out in 1993, it was released to mixed reviews and a modest box office take ($21 million on a $12 million budget). And the final shot, I promise, is the weirdest of all. One, naked, lands on the ground feet first, at the Place de la Concorde, situated between two human-size mice. There is a sudden cutaway to shots of Paris with debris and human beings falling from the sky.
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Rose, staring elsewhere, looks embattled. Rose’s table and starts a slow hip-grinding motion Mr. A reported segment of the show, about food issues, is narrated by a woman with a dolphin’s head. (“I stepped inside that doorway/can’t turn back, this place resists.”) Meanwhile, an image of the Eiffel Tower illuminated at night, shown in the studio background, starts going haywire: the tower eventually breaks in half and starts to swirl.
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It takes a found episode of a Charlie Rose television talk show and digitally replaces the guest with a charcoal-colored being whose head looks like a conch shell the alien has arrogantly propped a leg up on Rose’s table and is mouthing the lyrics to the Wolf Eyes song, with its steady, menacing beat, if that thing toward the bottom of the being’s head is called a mouth. The video for “T.O.D.D,” directed by Will Benedict with Steffen Jorgensen, might embody some of those questions.
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Who is the artist? Who is the listener? Why are you here? What is music for? Where are we going? Wolf Eyes’s music doesn’t take too much for granted it is implicitly questioning everything always. This week the Detroit experimental band Wolf Eyes presented a startlingly bizarre new video from its recent album, “I Am a Problem: Mind in Pieces,” released last year on Jack White’s Third Man record label.
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