"Se7en"
This credit sequence goes some way in setting the following two hours of unsettling horror that lies in store for the audience. Immediately throwing the audience into it's sick and depraved world is made all the more incredible, by the fact that it ever so subtly gives hints at it's psychopath John Doe; something that is only more noticeable upon a second viewing. Director David Fincher would collaborate again with Trent Reznor to great success in "The Social Network" and the upcoming "The Girl With The Dragon Tattoo", but it is arguably at it's best here, sampling Reznors 'Closer' to chilling results. An impeccably conceived sequence.
"Raging Bull"
It has been said before that "Raging Bull's beauty lies in the fact that you could freeze frame at any point in the film, and it would always be an impeccably framed work of art you would be looking at. Scorsese begins his masterpiece in glorious style, in this gorgeous and saddening slo-mo take, of Jake LaMotta practising in the ring before the big fight. As the film suggests, that while the film may be about boxing, it is, and always was LaMotta who was his own worst enemy. In the film he metaphorically fights with his demons, but here he actually wrestles with them, for the world to see.
"Watchmen"
While the film does have it's detractors, few can argue against director Zack Znyders fantastic introduction to it. Mixing real world with the alternate history presented is fantastically handled, and is the one time in the mans career when he successfully used his 'flo-mo' style for something worthy of it, and not at all gratuitous. There is a lot of exposition to tell befiore the film even starts and the credit sequence does an incredible job of doing so, while immersing it's audience in it's world. The times, they are a' changing indeed.
"Catch Me If You Can"
Spielbergs fantastic chase drama is beautifully introduced. Although taking inspiration from Saul Bass' best works, it is nontheless a fantastically fun introduction to the caper; pretty much showing the entire films plot in it's animated glory. Special mention too, to John Williams jazz motifs; something the man never explored previously in his extensive back catalogue.
"The Fall"
Although quite underseen upon it's release "The Fall" must surely go down in history as being one of the most stunningly photographed films of all time. Simply put, there is no other like it. It's opening here tells the important backstory of one of it's lead characters, while also successfully immersing you in it's poetic and gloriously beautiful world.
"Alien"
Here Ridley Scott's haunted house story in space, begins in uneasy style. The slow introduction of lines forming the title leads the audience into the quietly menacing ride they have in front of them. Although very simple, it is still the perfect way to begin proceedings.
"Lord of War"
While the film may be entirely forgettable, it still has a fantastic opening credit sequence, that in of itself, could serve as a nice little short. While the film sometimes gets bogged down in trying to mix it's political sensibilities with it's more crowd pleasing ideals, this sequence here deftly handles both as we follow the life of a bullet.
"Psycho"
Hitchcock's classic thriller is begun, in typically stylish fashion. The great Saul Bass created the iconic titles here; as the each credit revealed becomes fractured and dislodged from itself, reflecting Norman Bates mental state. Bass is the grandfather of classic movie titles.
"Reservoir Dogs"
Quentin Tarantino's career truly begun with his intro to his debut feature. Here was announcing his own arrival in the coolest, hippest way possible. This signified a new voice in cinema, and here he was, in all his bravado. The slow motion mixed with that now iconic use of 'Little Green Bag' perfectly introduces us into his skewered yet achingly assured view of the world. This is his invitation to us, to enter into it and view these no good scum bags as heroes that we could idolize. And because of this, it worked.
"The Shining"
Stanley Kubrick's epic opening shot sets up the themes of isolation and despair that the film goes on to explore. Our hero is a tiny spec compared to the vast openness out before him, a vastness that will later go on to devour him and everything he ever loved. This is our first trip into the mouth of the monster. I don't think I have ever heard music as terrifying and otherworldly since. Taken on their own, and the images are truly stunning enough to stand up isolated from the rest of the film.
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