Chris Young has a knack of composing themes that are immediately appealing to me, and this theme for piano is one of those themes. There is a similarity in several of his piano themes (e.g., The Glass House, Jennifer 8, Copycat) that some may object to, but I just love them. And this is a good example of what Young can come up with.
I like the urgency of this cue’s ostinato and the subtle use of the choir. If I was to be honest, it doesn’t really sound as though it belongs to the Harry Potter universe (John Williams’ scores were good enough to set the “geography” of that world). But it is a good track in its own right.
This cue sets the scene with a mysterious beginning and then launches (no pun intended) to an upbeat thematic passage that distractingly reminds me of Zimmer’s Backdraft at one point. But it soon gets back on track, promising much for the rest of the score.
A good suite of music in this track. Swings from fast-paced action scoring to quieter, creepier music. It is all interesting to listen to, particularly the frenetic string ostinato passages (I am a sucker for ostinato and rhythm).
I am still getting to grips with these complete scores even though I have had them for years now. As a consequence I am still discovering the use of the thematic material in unusual versions. But the massed choir of this cue is very familiar from the original release. And that haunting soprano voice at the end of the cue…
A light-hearted start to this medley of themes. I do have to be in the right mood for this score as it can be a bit too annoying sometimes. The motif for the rabbit isn’t too bad but the theme for Finnegan (Kirk’s old friend) can be a bit much (as too can be the character). It’s not a theme easily forgotten!
I like the use of the strings with the tinkling piano that starts off this cue. A sense of urgency that then moves to a more emotionally-charged passage for strings that has the Oriental feel required for this film. The latter half of the cue – with prominent drums and the Oriental feel – is a great passage in the track.
Morricone is a master at building up a track, adding various layers to a template to create a worthwhile journey leading to a fully-formed composition. This is a score that I have only recently become familiar and this is a track that’s a highlight of this composer’s work.
Okay, not technically a score. But this must have been used in a movie trailer by now? And if it hasn’t then it should be. Prominent percussion, staccato strings, massed voices and synthy brass. What more does a trailer need?
Michelmore’s music for animated superheroes projects is sadly neglected. Here he composes an Oriental-influenced track that also has the usual action scoring that’s full of energy.