![]() Arguably the best of these collabs, though, is Living Colour + Run-DMC’s “Me, Myself & My Microphone”. Cypress Hill joins Sonic Youth this time for “I Love You Mary Jane”, a song title that really doesn’t need any introduction. Some of the pairings, while more out of left-field, are nonetheless exciting ones. Plus, Onyx and Biohazard had already collaborated on “Slam”, so you know they had to do it again. It also works incredibly well, considering Biohazard were one of the biggest purveyors of hardcore-influenced rap-metal – they were from NYC, after all. You also have the title track, featuring Biohazard and Onyx – no doubt one for the hardcore fans out there. For the House Of Pain fans who might only have been familiar with their megahit “Jump Around” at the time, it proved a more hardcore hip-hop version of a popular sound. Setting the tone for the record immediately, it adeptly pairs Helmet’s influential (and abrasive) alternative metal sound with the hip-hop of House Of Pain, making for a rhythmic barrage that really comes to life. Take Helmet and House Of Pain’s “Just Another Victim”, for instance. Many of the collaborations sound like what you’d expect. Seriously, Pearl Jam and Cypress Hill on “Real Thing”? Alt-metal vanguards Therapy? and the rap stylings of Fatal on “Come And Die”? Who thinks of this stuff, anyway? It all seems like a fever dream, except it really wasn’t. The result was the Judgment Night soundtrack, and the concept was simple – bring together some of the biggest grunge // alt-metal // alt-rock + hip-hop acts to create something new and fresh.Īrmed with the big budgets of Immortal Records and Epic Soundtrax, there are some massive collabs here that still hold a lot of staying power. Cypress Hill and Faith No More made entire albums with these influences (and a host of others, too), while even mainstream (or soon to be) acts like Red Hot Chili Peppers would incorporate elements of these influences.Ĭonsidering the explosion of alternative rock, alternative metal, grunge, and hip-hop in the early ’90s, it only made sense that a link between these worlds would become more of a possibility. Interestingly, the revamped song was also the catalyst for Aerosmith’s mid-career recovery, as well as one that proved hip-hop was a commercially viable form of music that would only continue to explode in the years after its release. ![]() Previously, those collaborations resulted in songs like Run-DMC and Aerosmith’s revamped version of “Walk This Way”, which opened up many doors for these kinds of crossovers. Judgment Night is certainly an overlooked tour-de-force and is a brilliant action film with fine performances all round, but Leary completely and utterly steals the show.Though the collision between those seemingly disparate musical worlds existed many years before the soundtrack’s release, it was 1991’s Anthrax // Public Enemy version of “Bring The Noise” that proved heavier metal and hip-hop could, in fact, co-exist. His first score (electronic based) was rejected by Hopkins but that difficult decision proved be a good judgment (ha!) as the end result is one of the film's best features. Alan Silvestri's score is also one of his best, alternating between several different moods. Slow-mo and warped sound effects are also used to great effect in the finale. Director Stephen Hopkins (who also did Predator 2 and Blown Away) uses creeping camera movements and neo-noir lighting to provoke multiple eerie moments as well as a great deal of tension. Though the editors really should have cut down the in-fighting and petty bickering between the quartet as it often slows the film down to a complete stop. Estevez (who was cast very late after Tom Cruise and Christian Slater turned down the lead role), Gooding Jnr, Piven and Dorff play well off each other and Piven especially seems to really get into the whiny runt of his character. There are many similarities between them but Judgment Night clearly has more excitement. Judgment Night kind of comes across as a modern, urban Deliverance. They sure do make a threatening impression. ![]() Peter Greene, an actor always like to see, plays Sykes, one of Fallon's cohorts as well as Everlast from the rap group House of Pain as Rhodes. The spoon-fed quartet are way out of their comfort zone and have no idea how to navigate the ghetto or deal with its dwellers. And when four middle class pals from the quiet suburbs cross him and witness a murder a chase across derelict landscapes follows. Leary plays Fallon, a dangerous criminal from Chicago's bad side. ![]() ![]() I think he's a great actor but this is the movie to see him in as it's A. Since seeing this film I've never been comfortable with Denis Leary as a comedian because he's so damn convincing as the cold-hearted bad guy in this. ![]()
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