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LARA CROFT – TOMB RAIDER – Graeme Revell
Original Review by Jonathan Broxton
Few films have had as troubled a post-production than Tomb Raider, the first big-screen outing for the pneumatically-breasted super heroine from the world of computer games, Lara Croft. Musically, the entire set-up was a shambles, eclipsing even such scoring debacles as The Avengers and What Dreams May Come. The first name attached to the project was John Powell; then, game composer Nathan McCree was announced as being the film’s composer. To the utter dismay of score fans, it was then announced that dance DJ Norman Cook (aka Fat Boy Slim) would co-ordinate the soundtrack. Then, in an amazing about-face, Cook was bumped off and Michael Kamen came in. Sigh of relief. But then, with just weeks to go before the film’s high profile premiere, Kamen downed tools and bolted the project, leaving poor old Graeme Revell with less than 10 days to write and record a 50-minute score for a full orchestra augmented by electronics. The Hollywood composing merry-go-round seemingly knows no depths of stupidity. Read more…
EVOLUTION – John Powell
Original Review by Jonathan Broxton
Having never been particularly enamored with either of their individual works, I have often wondered just what kind of chemistry develops when Harry Gregson-Williams and John Powell work together to enable them to write such charming and ebullient scores as Antz, Chicken Run and Shrek. I have also often wondered whose musical personality is the more dominant when it comes to these magnificent animation works – and now I think I know. Evolution, John Powell’s first major solo score since Face/Off and Forces of Nature, is a definite kissing cousin to the Dreamworks hits in terms of tone and style, and has more than changed my attitude of the Englishman as a composer in his own right. Read more…
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