Giorgio Moroder

Janet Maslin in her review said it was one of Stallone's more muddled efforts and that the plot made literally no sense.

like many movies from this era it found long afterlife as a cable and vhs staple the kind of movie you would stumble into halfway through and end up finishing seven or eight out of ten times stallone plays hawk with a cheesy grounded sincerity that somehow sells the emotional arc even when the story leans hard into melodrama and as a kid i'll admit this was prime stallone fantasy fuel i wanted stallone to be my pops and i wanted stallone to arm wrestle for me that's a fact that you can't change damn you This movie overall just has that old school keep going keep fighting simplicity to it at its core that just hits perfectly on late night weekend cable especially with Giorgio Moroder's glossy score and a soundtrack that does a ton of the heavy lifting for the mood in a movie that some would say goes best with a few shots of Valvoline.

You guys are definitely gonna wanna stick around.

We've had big emotions so far, bigger spectacle, but with this next rental, the tone is shifting into something more serious with more higher stakes and video game level action spectacle.

based in music, Munich, sorry, slip of the tongue there.

And he set up with Giorgio Moroder, funny enough, a recording studio called Musicland.

And it was basically Queen's bass from around about 1979 up until they did Live Aid.

So they recorded there, you know, Under Pressure was recorded there.

I mean, yeah.

It was like Gio- Giorgio Moroder, uh, meets ABBA, meets, uh, Toto Coella.

That song I Eat Cannibals, you guys know that one? It, it was just-

Oh, yeah

I was like this as a kid, too.

John Carpenter-y, Giorgio Moroder stuff.

Like when he was really little, like five.

Giorgio Moroder, like boom, boom, boom, boom, boom, boom.

The band The Knife.

Oh, that's one of my favorite bands.

Do not know.

Giorgio Moroder.

He said the song was his proudest achievement.

Better than I feel love.

You have to take it up with him.

And the lyrics were by his one-time mechanic, Tom Whitlock.

Yeah, they met when Giorgio Moroder was complaining that the brakes in his Ferrari were broken.

And Tom Whitlock fixed them, and then they met, and then they worked on this and Danger Zone from Top Gun together.

Yeah.

What Donna does with that record and what producers Giorgio Moroder and Pete Bellotti do with that record, the arrangement of that record is so totemic.

I mean, it's such an amazing disco artifact.

The horn charts alone are some of my favorite in all of disco.