Lopatin weaves dialogue from the movie into the score, creating an effect that’s disarming even before you see the scenes it’s sourced from. Until the final scene, the film is all anxiety-the characters are always in situations where everything could go wrong, and the score teeters on a parallel brink.Īrpeggios run over peals of white noise on “Good Time” and “Hospital Escape/Access-A-Ride” drum sounds echo into an elevator shaft on “6th Floor” and “Ray Wakes Up.” “The Acid Hits” runs on slippery percussion that echoes the sound of bloodied fists breaking skin. But the score moves differently from his album work instead of pursuing moments of trance-like calm or humor, he metes out anxiety measure by measure. Lopatin accentuates the Safdie Brothers’ character studies with a palette that will sound familiar to anyone who’s followed the Oneohtrix Point Never discography so far. Connie wants nothing more than for his brother to have a good life, even if it means ruining everything on his path to get there. The film’s narrative rests on this contradiction. Nicky has unspecified disabilities-he wears hearing aids, and the first time we see him, he’s struggling to complete some kind of psychiatric evaluation-so Connie’s especially protective of him despite leading him directly into danger. The story centers on Connie, played by Robert Pattinson, who’s trying to get his brother Nicky, played by director Benny Safdie, out of Rikers Island after a bank robbery goes south. Its characters aren’t hard-talking badasses, but flawed, pained people scrambling for survival the only way they know how.
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Good Time is ostensibly a crime movie, but it’s full of close-ups on characters’ faces shot with handheld cameras.
Lopatin’s body of work makes him uniquely suited to the Safdie Brothers’ filmmaking style, which opts for a deep pathos and an intense humanization of its characters over flashy action sequences. From the ambient waves of Russian Mind to the hard rock-adjacent Garden of Delete, Lopatin’s work has a tendency to displace the listener-to envelop them in a world that looks a lot like the one they’re used to, but threatens to fall apart at the slightest touch.
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He’s mined vintage advertising, TV documentaries, and corny ’80s pop hits for his alien environments, often juxtaposing barely recognizable melodies with obliterative walls of static. That effect-of seeing one of the most recognizable places on earth as though it’s brand new-is cemented by the music permeating the shot, an anxious drone perforated by synthesizer arpeggios that sound both retro and bizarrely out of time.Īs Oneohtrix Point Never, New York-based electronic composer Daniel Lopatin has often focused on the grotesque and unplaceable. It’s one of the most photographed places in the world, an easy harbor for cliché and forced sentiment, and yet in the brothers’ lens, the setting looks novel and uneasy, like a threatening frontier you’re staring down for the very first time. The Safdie Brothers’ crime drama Good Time opens with a helicopter shot of New York City, a gamble for any film but especially one this strange, cloistered, and intimate.