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Cardi B And Bruno Mars Sample Jodeci For Steamy Duet ‘Please Me’

Cardi B and Bruno Mars collaborated last year on “Finesse (Remix)” and showcased how their opposing styles – her direct, bouncy punchlines and his stirring, slicing vocals – connected together flawlessly. The pair have now released a follow-up duet, “Please Me.” Instead of retreading “Finesse (Remix)”‘s jubilant ground, their new duet acts like a sexy spiritual sequel that deals in terms of lust. Take a listen to the track below.

It’s immediately clear what’s going on from the moment that the steamy production of “Please Me” begins. The tune sample’s Jodeci‘s sensual 1995 hit “Freek’N You,” an essential tune to score anyone’s bedroom olympics. Similarly, “Please Me” travels to the bedroom, but takes place before anything happens. Cardi and Bruno are two characters; Cardi’s the sexy siren, teasing her partner with her moves, figure, and promises of things to come, and Bruno’s on the receiving end of this sexual punishment, with the promise of imminent intimacy driving him crazy with anticipation. While Cardi breaks down an itinerary of the coming events if she decides to let him sample what’s on the chef’s menu, Bruno turns into the human heart-eyed emoji, pleading for carnal activity.

Cardi B had one heck of a night at the 61st Grammy Awards, making history as the first solo female Rap Album Grammy winner for Invasion of Privacy (she later shared the accolade with the late Mac Miller) and giving one of the night’s most energetic performances of her 2018 tune “Money.”

Cardi and Bruno’s new duet comes after the release of “Money” in October and the brief snippet of a new song she shared on Instagram in December. These could be the bread crumbs leading us to the grand prize – another solo LP.

‘Lorena’ on Amazon Reexamines Lorena Bobbitt and Shows She’s So Much More Than a Punchline

For the sake of clarity, it is worth dwelling on what John Wayne Bobbitt was accused of. She met him when she was 19, at a dance for enlisted men. They were married within a year. According to Lorena, he began to hit her a month later. The film details how, after he left the military, John couldn’t keep a job. He worked as a bouncer for a time, but Lorena recalls that he spent his time, for the most part, drinking. She was left to support both of them with her wages from the nail salon. The bank foreclosed on their house, and she alleges the beatings escalated. At one point Lorena got pregnant on purpose, thinking that a child would make John gentler and more responsible. When he found out, she says he forced her to have an abortion—even though it went against her Catholic beliefs. When he took her to the clinic, she claims he made cruel jokes about needles and syringes penetrating her vagina. (He denies these allegations.)

John appears several times in the series, interviewed from a wide barcalounger in his home and drinking from a Big Gulp. He speaks in short, muttered sentences. He does not seem sad, remorseful, or embarrassed about the incident; indeed he shows remarkably few signs of having any inner life at all. Several people in Lorena comment on John’s good looks, and it’s true that he was very handsome when Lorena married him, is handsome even now, diminished though he is by a age and a bigger, softer body and a reddened complexion. He has piercing, beautiful blue eyes, but there seems to be nothing going on behind them. At his own criminal trial for sexual assault against Lorena—the acquittal wasn’t surprising in the early nineties, when much of the country still considered “marital rape” an oxymoron—one of the arguments of his defense team was that John’s testimony should be considered credible essentially because he was too stupid to lie.

In the series, two of John’s friends at the time are interviewed and give credence to the assault accusations. One of the men testified that John described the rapes to them in boasting terms: “He liked to make girls squirm. And yell. And make them bleed, and yell for help.” John insists he never raped Lorena, but she describes a consistent pattern: He would come home drunk at three or four in the morning and she would wake up to him already raping her, or he would lurch onto her when she was home from work. On the stand at her criminal trial for malicious wounding, Lorena could barely get out the words. The documentary shows her sobbing in the witness box in big, indelicate gasps, tears streaming down her face as she told the court, humiliated, how he liked to sodomize her. Off camera, the voice of a lawyer can be heard. “And did he use any lubricant?” “No.” According to Lorena, John beat and raped her nearly every day. She testified that he did this for years.

On the night she cut his dick off, Lorena told law enforcement John came home drunk again in the early hours of the morning and got on top of her, ignoring her pleas to stop. Afterward, she went into the kitchen for water, trying to calm down. She says she saw the kitchen knife illuminated by the light from the refrigerator. It was a clean cut.

After the incident, public attention focused almost entirely on the severed penis. Its functionality or lack thereof, how and where it had been found, all became the subject of lurid public interest. There was something a little too on the nose about the spectacle of a woman cutting off a man’s penis. In 1993, America was haunted by anxieties about gender. More women were working, living on their own, having casual sex, and participating in public life than ever before, and many men were anxious, as they are now, about women’s rise. John’s severed dick became a symbol of all of America’s fears about feminism, the unsubtle Freudian symbol of men’s anxiety about women and their untapped power. But none of those anxieties had much to do with Lorena, or with the reality of her story. She became a symbol of women’s rage, how it is unjustified and dangerous. The real Lorena does not seem angry. She seems tired and scared. But public spectacle isn’t meant to accommodate women’s pain, and so Lorena was turned into a caricature instead.

But there has always been a different interpretation of Lorena—one that views her act as understandable, if less than ideal. From this standpoint, her decision can be seen as not insane, but eminently rational. When she had her day in court, she said she had been raped over and over again by the same attacker. And then she removed her attacker’s weapon.

8 Ways to Cope When You Get a Migraine Headache Away from Home

Have a drink.

While consuming anything at all might be the last thing on your mind, drinking some ice water to hydrate and cool down can help mitigate a migraine, as can sipping a cup of coffee. “Try a small dose of caffeine, if you can tolerate it during the attack—about eight ounces of black tea or coffee,” Ailani advises.

Use soothing distractions.

Cue up a calm, spa-like playlist to help get your mind off your migraine, or listen to a meditation app like Calm or Unplug, which will help you focus on your breathing instead of your pain. And any time an ice pack isn’t convenient, an over-the-counter cooling rub with camphor or menthol makes a great substitute. “Rub it on your temples, forehead and back of the neck,” Ailani says. Certain scents may also be soothing. “Some people find it helpful to dab lavender or peppermint oil behind their ears, but if the scent seems too strong or makes you feel worse, avoid this.”

Go easy on yourself.

Now’s the time to splurge on a cab or an Uber if you were planning on riding a train or bus home. “All that rocking and stopping back and forth can worsen nausea and motion sickness,” Ailani says. When riding in a car with a migraine, it’s best to stick to the passenger seat; sitting in the back can also exacerbate those queasy feelings. If you’re out shopping or schlepping when a headache hits, figure out the quickest way to end the errand and lighten your load. “Try to avoid holding or carrying heavy bags when a migraine is coming on—if you’re alone and walking around with a lot of things with you, consider getting into your car or a cab,” Ailani says.

Stick to your routine.

If travel has triggered a migraine, many factors could be to blame, from changes in airplane cabin pressure to a major shift in your sleep schedule. As you cope, focus on getting back to your usual schedule and habits. “Make sure you have adjusted to the time change, don’t cut back on sleeping hours or miss meals, and don’t overdo alcohol or caffeine,” Newman advises.

Pack a migraine kit.

Pre-pack a kit with the tools you’ll turn to in your next migraine emergency—things like doses of your medications, cooling balm, essential oils, sunglasses, earplugs and noise-canceling headphones. Stash this in your handbag, travel carry-on, or your desk at work. Just knowing it’s there will arm you with your most important migraine-fighting tool: the calming knowledge that at least you’re prepared.

Katy Perry and Orlando Bloom Are Engaged

After more than three years of dating on and off, Katy Perry and Orlando Bloom are engaged. The couple confirmed the news early Friday morning (February 15) on Instagram, sharing a photo of Perry’s beautiful, flower-shaped ring.

“Full bloom,” Perry captioned an up-close pic of herself and Bloom, which shows off the gorgeous rock. Bloom shared the same image to his own account, captioning it, “Lifetimes.”

Check out the photo for yourself, below:

Perry’s mother confirmed on Facebook the couple became engaged on Thursday. “Look who got engaged on Valentines Day!!” she wrote, sharing two photos from the party where it presumably happened.

Bloom took to Instagram earlier that day to share a sweet message about love. “A shallow person will have only shallow relationships,” he wrote. “Real love is not one person clinging to another, it can only be fostered between two strong people secure in their individuality. Antoine de Saint- Exupery, author of The Little Prince wrote in a work called Wind, Sand and Stars, ‘Love is not two people gazing at each other, but two people looking ahead together in the same direction.'”

See that post here:

In January, Perry wrote a touching tribute to Bloom for his birthday on Instagram. “Happiest 42nd birthday to the kindest and cutest man I’ve had the pleasure of spending time with,” she posted alongside an image of Bloom wearing a “Woman in Power” shirt.

Katy Perry an Orlando Bloom’s relationship began at a Golden Globes after-party in January 2016, where they were spotted flirting. A month later, People confirmed they were an item. They split in February 2017 but got back together roughly a year later.

It’s been an exciting week for Perry, who just dropped her new (very good) collaboration with Zedd titled “365.” Bloom, meanwhile, recently wrapped production on a new TV series, Carnival Row, according to IMDb.

How Alita: Battle Angel Brought Its Crazy Motorball Sequence To Life

Robert Rodriguez’s Alita: Battle Angel is a very faithful adaptation of its beloved source material, but it does make one notable change. Borrowing an element that isn’t introduced in the manga until closer to the middle of the series, the film introduces audiences to the violent sport known as motorball: a deadly, dangerous game played by cyborgs at high speeds.

It’s an interesting addition not only from a visual effects perspective, but also in the movie’s storytelling – and I felt compelled to ask about it when I interviewed Robert Rodriguez, star Rosa Salazar, and producer Jon Landau during the movie’s domestic press day in Los Angeles earlier this month.

Sitting down with the trio in a recreation of one of the sets from the movie, my first question was about the introduction of motorball to Alita: Battle Angel and the challenges of bring it to life – and Robert Rodriguez opened by saying that there was a mix of positives and negatives within the execution. In the case of the former, for example, the film doesn’t actually feature any full scenes of the sport being played, so that took a bit of narrative weight off their shoulders and allowed the production to have a bit more fun with it:

It wasn’t in the two books that [James Cameron] was adapting into the script, but he pulled it out of book three and four. He said, ‘I think fans of the manga would be really upset if they got an Alita movie and there’s no motorball. And he found a really cool way to use it where they’re not even playing the game; they’re all just trying to kill her – which I thought was awesome because then it’s more character driven.

Writing the script, James Cameron handed Robert Rodriguez a pretty handy shortcut that avoided a sequence dedicated to explaining the rules of motorball… but that was just one item taken off of a still very full plate. Just because there was no need for an exposition dump (one that notably didn’t actually exist in the manga either) didn’t mean that the filmmakers didn’t have to still figure out the mechanics of the sport, and that process created its own special issues.

As an example, the director explained how even figuring out how fast the characters needed to go was a process with hurdles. While the Alita: Battle Angel source material did provide some guidance, the practicalities of filmmaking required a few alterations in the physics department, which then themselves required further alterations in other areas. Rodriguez explained,

I did a bunch of speed tests really early on, just with some animatics in Austin, trying to figure out how fast they really needed to be going so that it would feel fast – because it was always described as being like a 100 mph. Which, you know, when you put it on a track, because the track doesn’t have a lot of discernible visuals, it just didn’t seem fast enough. So it’s more like 400 mph just to get it, and that means right away we’re out of track, so we had to just keep elongating the track. There’s a lot of cheats in there to get the feeling, this breathless feeling of the track.

Of course, just because Robert Rodriguez and James Cameron didn’t fully outline the rules of motorball in the making of Alita: Battle Angel doesn’t mean that they’ve cast the task aside permanently. While the making of this movie didn’t make that job a requirement, Rodriguez added that it’s something that would certainly be done for a sequel:

Because the story point was just that they were trying to kill her. We can just throw that out the door and go, ‘Okay. As long as it feels like there’s some sport being played, we don’t really have to figure it out in this movie. We will eventually!

As for the performance perspective, the majority of the professional motorball sequence is primarily brought to life with pure visual effects – but that doesn’t mean that Rosa Salazar was totally sidelined for the experience. Obviously she wasn’t strapped to any kind of machine that would whip her around at 400 mph, but there were particular parts in the making where her talents were required.

Speaking to her work on the motorball scene, Rosa Salazar noted that the work was a bit more fractured, but could highlight the moments her involvement (primarily involving close-ups and dialogue) – with Robert Rodriguez chiming in to add an extra detail.

Rosa Salazar: Here’s the thing – there were specific moments during all of those motorball battles that we actually shot separately. When he’s trying to push my head into the ground and I break… a couple of different moments. Obviously right before I bust through the glass at the starting line, ‘Take it easy on me, guys.’ Taking off. All of those things were shot.

Robert Rodriguez: We had a start line where all of them were together and she could actually interact with everybody. Even though all their bodies were going to be replaced, we still had to photograph all of their faces.

You can watch Robert Rodriguez and Rosa Salazar discuss the process of bringing the motorball sequence to life by clicking play on the video below:

If you’re now totally pumped to see this insane action on the big screen, the good news is that you can do it right now. Alita: Battle Angel – which has Rosa Salazar joined by an outstanding cast including Jennifer Connelly, Christoph Waltz, Mahershala Ali, Ed Skrein, and more – is now playing in theaters everywhere. We’ll have plenty more about the film coming your way in the next few days as it fights its box office competition during the Valentine’s Day weekend, and be on the lookout for more behind the scenes stories.

For more of what’s coming to a theater near you in the weeks and months ahead, be sure to check out our 2019 Release Calendar.

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Leigh Whannell’s The Invisible Man Is Filming Sooner Than Expected

For a while it very much looked like Universal Pictures had a clear idea what it wanted to do with the company’s classic lineup of monsters, but things didn’t exactly wind up going as planned. The Dark Universe was an ambitious approach, however it was stopped dead in its tracks by the failure of a single film: Alex Kurtzman’s The Mummy. Despite all of the planning the studio did, and nice deal of A-list casting – including Johnny Depp as The Invisible Man – the entire thing fell apart surprisingly quickly.

As a result of these developments, we were again left wondering what the future would eventually hold for this collection of cinematic icons, and in late January we learned an interesting update. Notable horror studio Blumhouse announced they were moving forward with their own version of The Invisible Man, with writer/director Leigh Whannell at the helm. And while the report suggested it as a project still in early development, I recently had the chance to speak with producer Jason Blum about how the whole thing came together, and he confirmed a start for later in 2019:

It came about very organically because Leigh had a spectacular idea. And so when he had this idea we talked to the studio about it, and I would say the idea kind of fits squarely into the tenants of Blumhouse. It’s really character-based, it’s story-based. It doesn’t rely a ton on stunts and visual effects, and I love it. We’re going to shoot it this year, and I can’t wait for people to see it.

The latest title from Blumhouse, Happy Death Day 2U, is now playing in theaters, and earlier this month I hopped on the phone with Jason Blum to not only talk about the new film, but also the many projects that are currently in the works at Blumhouse. At one point I steered the discussion towards the recent announcement about The Invisible Man, and learned not only about its origins, but the production schedule plans.

When news about this new take on the classic science-fiction story was announced, it was said that it was unclear if it would actually be the next Universal Monsters feature to go in front of cameras. Given Jason Blum’s comments, however, one can pretty much assume at this point that will be the case.

First adapted by director James Whale back in 1933, The Invisible Man was originally a late 19th century H.G. Wells novella about a scientist named Griffin who discovers a chemical process to turn himself completely invisible. Unfortunately, one of the side effects is also total madness, eventually leading Griffin on a horrific crime spree, and the authorities challenged with facing off against a criminal they can’t see.

Surely there will at least be some effects work at play in Leigh Whannell’s new vision, as it will have to sell the audience of the protagonist’s invisibility, but a more character and story-based interpretation of the story sounds fantastic. The Invisible Man is a pretty straight-forward premise that lends itself to new and interesting narrative choices, and based on Jason Blum’s comments, it sounds like Whannell has discovered something novel.

This will probably be of little surprise to those who have been following Leigh Whannell’s recent work – especially his most recent directorial effort, Upgrade. He’s always been a talented writer, as seen through his many collaborations with James Wan, but his Blumhouse action film from last year is next level. The cinematography and editing featured – particularly in fight sequences – is brilliant, bonkers, and unique, and the thought of him taking a similar visually stylistic approach to The Invisible Man generates extreme cinematic anticipation.

Johnny Depp will definitely not be starring in Leigh Whannell’s film, which means that the role of Griffin is seemingly up for grabs – and even though it isn’t exactly a “face” part, one can imagine a lot of talented individuals in the industry going after the project. Given the scheduling plans, it would not be at all surprising if we were to learn the identity of the star in the coming weeks and months.

The Invisible Man doesn’t currently have a target release date, but it sounds like it is coming together fast – so be sure to stay tuned here on CinemaBlend for all of the latest updates. And for a fantastic dose of new Blumhouse awesomeness that you can see in theaters right now, go check out Happy Death Day 2U, which is playing nationwide.

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The Humans In The LEGO Movie Franchise Are Way Better Than Those In Toy Story

Warning: SPOILERS for The LEGO Movie 2: The Second Part are ahead!

The Toy Story movies and LEGO movies have a lot of common, mainly that they revolve around child playthings that come to life and go on crazy adventures. And naturally, these playthings are owned by humans, but when looking at these movies through these toys’ owners, that’s where a big difference is noticeable. Because while the main human characters in the Toy Story movies are primarily on the sidelines and usually come out of these storiesunchanged, the main human characters in the LEGO movies are actually important to the story, as well as grow and develop. In that regard, that makes the latter franchise more interesting than the former.

Just to be clear, I’m only talking about the main LEGO movies with the particular topic. No humans appeared in The LEGO Batman Movie, and The LEGO Ninjago Movie only used that kid and the old man as bookends to the main narrative. The LEGO Movie and The LEGO Movie 2: The Second Part, on the other hand, used humans within the main stories, although that wasn’t immediately clear in the first movie. It wasn’t until approximately three-fourths into The LEGO Movie that we learned that Emmet Brickowski and the gang’s adventure was coming from the imagination of a young boy named Finn, who’s been playing with his father’s LEGO collection, but is chastised by his dad, a.k.a. “The Man Upstairs,” for “ruining” the playlets and ignoring the instructions.

Okay, maybe the LEGO events aren’t entirely fictional given that Emmet eventually became aware of Finn’s existence and the real world (and this becomes an even more curious subject through Rex Dangervest in The LEGO Movie 2: The Second Part), but the point is that not only is The LEGO Movie an allegory about Finn’s father’s perfectionism and how LEGOs should be played with, but by the end of the movie, Finn’s father realized the error of his ways, unglued the LEGO sets and allowed his son to play with the toys as he saw fit. Lord Business’ redemption and the LEGO characters succeeding represented Finn and Finn Sr. (whatever his name is) improving their relationship.

Thankfully, this human element was retained for The LEGO Movie 2: The Second Part, which built off the Duplo LEGO characters owned by Finn’s sister invading Bricksburg at the end of The LEGO Movie. This time around, the references to the real world were more on the nose, such as Queen Watevra Wa’Nab hailing from the “Systar System” and Emmet having dreams of “Our-Mom-ageddon.” And once again, the events in the LEGO story corresponded with the events of the real world, with Finn’s sister, Bianca, trying to play with her brother, but him not having any of it, eventually resulting in a big fight and their mother stepping in and forcing them to pack up their LEGOs. Ultimately, though, the siblings reconcile and learn to play together. Once again, the humans grow and develop from their small, but important life experiences, and that translates to what happens within the LEGO-verse.

Then there are the three Toy Story movies that have come out so far, with Toy Story 4 arriving this summer. These toys definitely exist in the real world, with the playthings pretending to be lifeless whenever humans are around. There are some exceptions to this rule, like when Woody, Buzz and the mutant toys belonging to Sid scare the teenager straight in Toy Story. But for the most part, humans are oblivious to the shenanigans these toys get into, and as a result, they’re basically the same person at the start of the movie as they were at the end. As key as Andy is to the first three Toy Story movies, he’s not a major player in these tales. It was emotional watching him go off to college in Toy Story 3 and having him give his prized toys to Bonnie, but we really don’t know that much about him. We didn’t need to.

None of this is to say that the LEGO movies are better than the Toy Story movies overall. In fact, in the grand scheme of animation history, the Toy Story series is likely to held in higher esteem, from how Toy Story was the first feature-length computer animated to how Toy Story 3 raked in numerous accolades and over $1 billion worldwide. Nevertheless, because The LEGO Movie and The LEGO Movie 2: The Second Part opted to take a different approach with the relationship between toys and their human owners, the result is that what goes down in the LEGO-verse echoes what happens in real life, which is the point. We’re watching the way these Finn play with these toys reflect how he’s growing and changing. If The LEGO Movie 3 happens, I wouldn’t be surprised if it took a Toy Story 3-like approach and showed Finn either packing up his LEGO upon reaching adulthood or, if they wanted to go even further into the future, show him playing with his and his dad’s LEGO collection with his own child.

Toy Story, on the other hand, is about what toys are up to when humans aren’t around or watching. It’s fun to see Woody, Buzz, Hamm, Slinky Dog and the rest of the main characters navigate the real world without being caught. But consequently, the humans just aren’t fleshed out because they’re on the sidelines, which makes sense given the direction Pixar wanted to go. After all, this isn’t the Human Story film series. That being said, it would be interesting to see what would happen if a human were to actually learn that toys are living entities and fully absorb this new concept, as opposed to thinking they were hallucinating or imagining things, like Sid probably ended up doing as he got older.

In any case, the LEGO movie franchise and the Toy Story franchises are each unique in their own ways, but as far as using humans goes, LEGO has the distinct advantage. The LEGO Movie 2: The Second Part is now playing in theaters, and Toy Story 4 will come out on June 21. Those of you interested in learning what other movies there are to look forward to this year can browse through our 2019 release schedule.

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The Pirates Of The Caribbean Reboot Just Hit A Setback

For over 15 years, the Pirates of the Caribbean has brought Disney a treasure’s trove of success, but as Disney film chief Sean Bailey said, the franchise needs a “kick in the pants.” While the studio was in talks with Deadpool writers Rhett Reese and Paul Wernick to have them steer the ship of the next Pirates film, the writing team are now taking one cue from the Disneyland ride – telling no tale.

That’s right, Rhett Reese and Paul Wernick are no longer attached to write the planned Pirates reboot, per Deadline. Back in October, the pair were reportedly in talks to pen the project. Sean Bailey previously expressed his excitement to have them aboard detailing they would make “pirates punk rock again” and bring “energy” back to the property. Disney will now either be looking elsewhere or abandoning the project all together.

Following the release of the fifth film, Pirates of the Caribbean: Dead Men Tell No Tales, in 2017, the studio announced it would be developing a sixth installment. However, after the swashbuckling adventure flick brought the lowest numbers of the franchise, it was rumored the next film would be a “reboot” instead, and without the return of Johnny Depp’s iconic Jack Sparrow. One rumor pointed to one of the ride’s pirates, a female buccaneer named Redd, who was recently revamped in the Disneyland attraction, could lead the retelling.

The Pirates of the Caribbean movies have made a combined $4.5 billion at the box office, though earnings have slowly started to sink in recent years. Dead Men Tell No Tales undoubtedly made a lot of cash worldwide (over $794 million), though only $172 million were domestic earnings. In comparison to Dead Man’s Chest’s over $1.06 billion worldwide and $425 domestic gross, the series has certainly fallen behind.

Calling on Rhett Reese and Paul Wernick was an inspired idea. The writing team have not only penned the Deadpool films, but also Zombieland, which has a sequel on the way this October. Reese and Wernick are also attached to a Clue remake under Fox and Disney that will star Ryan Reynolds.

Without Johnny Depp as Jack Sparrow, the next Pirates of the Caribbean would certainly have a different feel to it. The actor is enamored in his role as Grindelwald for Harry Potter spinoff franchise Fantastic Beasts for three more films. The actor has also recently received backlash for abuse accusations from his former wife, Amber Heard.

Pirates franchise leads Keira Knightley and Orlando Bloom have not showed any interest in returning to the franchise. Recent Pirates films have been dancing around their absence and shoeing in new characters each time, such as Penélope Cruz’s Angelica in Strangers Tides and the addition of Brenton Thwaites as Henry Turner in Dead Men Tell No Tales.

So if Disney is planning on continuing the Pirates movies, a reboot is not only a good call, but maybe the only call. With Rhett Reese and Paul Wernick jumping ship, it could be some time before the franchise returns.

The 10 Greatest Rap Songs Created For Movies

People may not initially tie the world of cinema and hip hop together, unless of course they’re thinking of the various hip hop icons who have transitioned into the genre as actors. Despite the disconnect, hip hop and movies have gone together for quite some time and have given some great songs to the world. No, we’re not talking about Eminem’s “Venom” or that line in the song he dedicated to getting high off the scent of elephant manure.

Instead, we’re talking about the 10 greatest rap songs that have been created for movies. Each song on this list is special in its own way and helped make the movie it was made for that much better. Listed in chronological order, here’s the breakdown of the best hip hop songs to have come from movies over the years.

Teenage Mutant Ninja Turtles II- “Ninja Rap”

There isn’t a lot to love about Teenage Mutant Ninja Turtles II: The Secret Of The Ooze, but that Vanilla Ice cameo was pretty sweet. Those who say the rapper was a one-hit wonder clearly forgot about his rap about the green machine, who’s going to rock the town without being seen. If you’re looking for a song that perfectly encapsulates the fun and sillier side of early 90s rap, this is it.

Deep Cover- “Deep Cover”

This Laurence Fishburne and Jeff Goldblum drama was a fun ride from start to finish, and the theme song that accompanies it is an added bonus that’s been enjoyed long after the film. “Deep Cover” remains relevant in the hip hop world to this day not just because it’s a good song, but it was Dr. Dre’s solo debut and the first song from a relatively unknown rapper at the time, Snoop Dogg.

Dangerous Minds- “Gangsta’s Paradise”

Fun fact, “Gangsta’s Paradise” was originally eyed by the film Bad Boys to be its title track. Coolio told Rolling Stone Dangerous Minds offered more money, so the rights went to it. The move to Dangerous Minds wasn’t all bad, as one of the film’s producers ended up shooting the music video with Coolio and Michelle Pfeiffer. That producer was Antoine Fuqua who, as many may know, has since moved on to directing much bigger productions.

Space Jam- “Space Jam”

Quad City DJ’s were riding high in the mid-’90s, and the success of “C’mon And Ride It (The Train)” got them on Warner Bros. radar. According to Spin, the artists weren’t given any instruction beyond the song be “high octane” and mention Space Jam in the title. Suffice to say, the crew delivered in spades. Lemonhead later admitted he never saw the movie in theaters, making it the one film they contributed to he missed. That’s looney.

Men In Black- “Men In Black”

Will Smith has done many songs over his career for things he’s appeared in, and while “The Fresh Prince Of Bel-Air,” may be his finest work, this is a close second. The song was Smith’s first single that didn’t include DJ Jazzy Jeff, and ended up being a track he included on his solo album Big Willie Style. It also has a catchy beat and easy to follow dance instructions, and who doesn’t love that?

Bulworth- “Ghetto Supastar”

How many album covers of singles feature Warren Beatty in urbanwear next to Pras Michel in a three-piece suit? Just one, and what a glorious picture it is for a weird film like Bulworth. The song was featured on the film’s soundtrack, and has become a classic arguably more noteworthy today than the film. Perhaps if Bulworth had won one of its three Oscar nominations it was up for that year, it would’ve been a different story.

He Got Game- “He Got Game”

This is perhaps the best film and hip hop combo on the list, as Spike Lee’s basketball drama mixed with Public Enemy over a sample of Buffalo Springfield’s “For What It’s Worth” is something special. It’s all elevated by phenomenal performances by Denzel Washington and former NBA superstar Ray Allen. In fact, it wouldn’t be crazy to argue that Allen delivered the best on-screen performance of any NBA star prior and since then.

8 Mile- “Lose Yourself”

Even if his Venom track may be lackluster, there’s no denying that Eminem has contributed one of the most popular rap songs and best rap films of all time. “Lose Yourself” is viewed as one of the rapper’s greatest songs, and it pairs wonderfully with the movie loosely based on his time as an up and coming MC in Detroit. Also, some respect is due to the first hip hop song to ever get an Oscar.

Hustle & Flow- “It’s Hard Out Here For A Pimp”

Eminem might’ve had the first rap song to be given an Oscar, but Three 6 Mafia managed to top him with one better. Their song “It’s Hard Out Here For A Pimp” for Hustle & Flow also got the award, and was the first hip hop song to have ever been performed during the ceremony. Considering the other great songs that are on this list, that’s kind of hard to believe.

Suicide Squad- “Purple Lamborghini”

One may not immediately remember Suicide Squad has a rap theme song, mainly because there’s so much music in it to begin with. Rick Ross’ song can be heard during the club scene, where Jared Leto’s twisted and only briefly seen Joker is hanging out in the club. The song also got a music video, which will give fans of this film some additional scenes with Leto’s Joker they may have felt robbed of.

Readers with songs they loved that they felt should’ve been included in the list can feel free to sound off in the comments. After all there’s a surprising amount of songs beyond this list, many of which just barely missed the mark for appearing. For more on music in films, read up on James Wan’s reasoning for including a Pitbull song in the midst of Aquaman.

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