Eye of the Beholder: A Short History Of Metallica Songs in Films and TV

We can all agree that the finest use of Metallica’s songs at a motion picture was Some sort of Monster. Cool songs, cool lyrics, trendy sweaters. But from the halcyon days earlier lifestyles determined deathstyles, you will be amazed to learn that the biggest of the Big 4 wrote four albums regarded even more highly than St. Anger. Below are our thoughts on the way TV shows and seven films used the stuff.

STRANGER THINGS, SEASON 2, EPISODE 8

Billy the Bully is not exactly the most three-dimensional antagonist in the storied history of Netflix and Chill, but he did rock “Whiplash” inside his bedroom to get pumped for a second sleepless night of threatening African-American children with physical harm. He’d [SPOILER ALERT] endure the final ’80s comeuppance, yet: his dad calling him a “f*gg*t” for egregious bedroom hair-tousling. ANYHOO, although zero high schoolers within this time interval hastens at varsity basketball and listened to Kill ’Em All, this song is totally appropriate for Billy’s character, which makes this a good score of 7 .

THAT’S MY BOY

By Steve Buscemi and John Turturro to Al Pacino and Nicole Kidman, Adam Sandler has the Midas Touch as it comes to humiliating thespians that are legendary. 2012’s That’s My Lady continues this proud lineage by pitting Sandler’s eponymous son (Andy Samberg) against an egregiously slumming James Caan, enjoying a foul-mouthed, brawling priest. The subsequent beatdown is put to (sigh, again) “Whiplash,” however, the editor is too lazy to sync both the blow-landing freeze-frame montage to any trendy staccato parts (you know, like the iconic beginning). Lazy and stupid, but do you expect anything else? A 3 if we’re being generous.

OLD SCHOOL

Two wretched Hangover sequels and yet another Due Date along with War Dogs later, the bloom has long worn off the idea of Todd Phillips becoming Hollywood’s preeminent crass humor man. But almost all of Old School ages well, particularly the scene where Luke Wilson, Will Ferrell, and Vince Vaughn kidnap prospective fraternity pledges to the tune of “Master of Puppets.” Thumbs up to any scene which finishes with a protagonist threatening that a middle-aged girl in a supermarket parking lot, “You tell anyone about it, I’ll fucking kill you … I am kidding, I’m kidding, we’ll have him back by tonight. Okay, love?” Obvious choice, but expertly applied. Hard 8.

HESHER

Does not, won’t get any better. The title font is Metallica-style. This is the pinnacle of all Joseph Gordon-Levitt’s livelihood. It wisely uses five classic ‘Tallica bangers: “The Shortest Straw,”“Fight Fire With Fire,”“Anesthesia (Pulling Teeth),”“Battery,” and “Motorbreath.” The above mentioned scene applies “Battery” in its beginning and ending, and while I would strongly suggest skipping it and simply watching the whole thing, I can tell you that this is exactly how I would have treated a younger brother if my parents had granted me one. A perfect 10.

THE BIG SHORT

I am not a homeowner, nor do I really care about other people’s issues, nor do I presume of fourth-wall-breaking in films which are not , so maybe I am not best-equipped to examine Metallica’s usage in a film which I turned away after 10 minutes out of boredom. But unless many and sundry synopses have led me wrong, Christian Bale’s savant-like hedge fund manager Michael Burry predicted the housing crisis while drumming along to the likes of Mastodon, Pantera, along with Metallica’s “Master of Puppets” (“Eye of the Beholder” is later utilized.) Everyone but me seemed to actually enjoy this picture, therefore I’ll throw it a cursory 8, and I am pretty dumb.

ZOMBIELAND

Even the overstylized opening credits to the second-ever zom-com blare “For Whom the Bell Tolls” as many types of these undead hurl armed defenses off prison towers (two thumbs way up), chase down smoothie-toting yuppie girls (eh), dip right into a dress mid-toast (good stuff), participate in one of these father-son races where your legs are closely tied to one another (fine, positive), and far more. The song choice is if only half of the vision makes sense. 8

ANY GIVEN SUNDAY

Let us end with a one. How Metallica haven’t completed a Super Bowl halftime show is beyond me, although I know the concept is to counterprogram to cast as wide a Nielsen net as you can. (They might even create up with Axl and haul out him in their own stupid Jerry Rice Raiders jersey.) Anyhow, Oliver Stone’s foolish “evaluation” of expert soccer boasts a super-weird soundtrack, mixing great hip (DMX, Mobb Deep, OutKast) using opposite-of-great nü-metal (Godsmack, P.O.D.).   In this specific locker area interlude, the snowy linemen closed off their black counterparts’ pesky hippity-hop in favour of “Motorbreath.” Shouting ensues. I think this is something or commentary. 4?

source http://www.hundredwattstudio.com/eye-of-the-beholder-a-short-history-of-metallica-songs-in-films-and-tv/