Soundtracking: "Big Mouth"

Chris takes on the original songs of Netflix's new raunchy delight...

Have you caught up to Netflix’s newest and filthiest animated series Big Mouth? From the minds of Nick Kroll and John Mulaney, it’s a take-no-prisoners look at puberty that’s actually rather sweet and thoughtful between cringeworthy, painfully reminiscent laughs. Now before you relegate it to the crass animated rung of less imaginative programs, take note that the show is quite surprising on many fronts - not least of which is its hilarious original songs.

The important role of music in youth is a recurring theme of this column but Big Mouth catches its young characters in an interesting middle ground, musically speaking. The onset of grown up hormones often means your musical tastes are growing up as well, leaving behind simpler tunes. Think of the show's musical stylings like a logical, but naughty progression from Schoolhouse Rock or Free to Be... You and Me: packed with valuable life lessons and annoyingly catchy. But rest assured, these NSFW tunes sound exactly right for characters pushing themselves to be more grown up - and all the pain of adulthood that awaits.

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Soundtracking: "Mistress America"

The Meyerowitz Stories comes to Netflix this week, so Chris looks back at Noah Baumbach's last farce...

It's not uncommon for a hip song to singularly define a film, but rarely do they also unlock or embody a character with equal force. When Mistress America does so with “You Could’ve Been A Lady” by Hot Chocolate it’s working with a character that wants to similarly been seen as a lot of things, but most importantly cool. As if Great Greta Gerwig could ever be seen as something less than complex and cool as heck.

Mistress America takes off musically with a more subdued approach. Lola Kirke’s Tracy arrives at college, one of the times where we we allow music to outwardly define us, whether it’s a dorm poster or conversation starter. It's no surprise that college films lean in heavy on contemporary musical hipness for their identity. This film instead first relies on Britta Phillips and Dean Wareham’s score instead, presenting impressionable Tracy as a somewhat blank slate. That is until the film’s signature track busts in and dominates just like Gerwig’s Brooke.

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Soundtracking: "The Lure"

Just in time for Halloween, musical oddity The Lure has joined The Criterion Collection. Here's Chris on its soundtrack...

Yet another Polish lesbian mermaid pop musical? Geez. For those that complain that musicals have no originality anymore, may I introduce a bloody disco ball of a film: The Lure. The story of two mermaids who come aground and quickly rise to success singing in a Warsaw nightclub, it’s both fairy tale and metaphor for female sexuality. But most importantly, the music kicks a whole lot of ass.

Led by young stars Marta Mazurek and Michalina Olszańska and with some disco diva stylings from Kinga Preis, the film is about the most delightful genre hybrid we have seen in some time. It’s a femme-centric mix of musical and horror, with more pointedly ironic sexuality than any music video once banned from MTV. It would be glib to describe it as a t.A.T.u. performing a Let The Right One In jukebox musical of Abba songs but that is the closest I can get to painting a vision of its giddy melodic morbidity. Or describing the fun of its singular strangeness.

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Soundtracking: "The Breakfast Club"

The 1985 Smackdown is coming, so Chris looks at that year's iconic track from The Breakfast Club...

Is there a better era for films defined by a single song (and vice versa) than the 80s, particularly those from John Hughes? Hughes was more than a master of understanding the teenage disposition, and music was always a part of his equation. But the pillar of this kind of definitive relationship of song and subject in his films is The Breakfast Club and “Don’t You (Forget About Me)” by Simple Minds. You can’t separate one from the other: hear the song and suddenly you’re monologuing an “athlete, basket case, princess, etc.” piece; see its iconic poster and you’ll hear a “hey hey hey HEY” in your head.

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Soundtracking: "Across the Universe"

We're talking the 10th anniversary of Across the Universe in Chris Feil's weekly column on music in the movies!

Across the Universe came to the screens just as jukebox musicals were becoming especially grating on Broadway, but more of a curiosity for the big screen. The film promised stunning Julie Taymor-directed imaginative images set to a massive catalog from The Beatles - and delivered us something a bit more uneven than the creativity explosion that sounds like. Perhaps the high bar already set by invoking the biggest band in the history of popular music was an impossible goal, but the film does provide at least a fun reimagining for some of the best music of the century. A Beatles musical in any context? Yes please (with trepidation)!

The film plays best when it side-steps the plot in its musical sequences...

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