Archive
SUPERMAN RETURNS – John Ottman
Original Review by Jonathan Broxton
As much as Marco Beltrami was walking into a film music minefield by being asked to follow on from Jerry Goldsmith’s score for The Omen, John Ottman’s task following in the footsteps of John Williams on Superman Returns was probably too daunting to imagine. John Williams between the mid 1970s and the early 1980s was enjoying arguably the most creatively fruitful period of his career, writing Jaws, Star Wars, Close Encounters of the Third Kind, Raiders of the Lost Ark and E.T. within eight years of each other. The original Superman came right in the middle of this golden period in 1978, and became an instant classic, with Williams’ music providing the right amount of thrills and spills and heroic ebullience the film required. The Superman March has since gone on to become one of film music’s most well-loved and recognisable themes. Read more…
THE FAST AND THE FURIOUS: TOKYO DRIFT – Brian Tyler
Original Review by Jonathan Broxton
I’ve never actually seen any of the films, so it’s quite possible I could be missing something, but I’ve never fully understood how The Fast and the Furious became a franchise. The films themselves seem to be little more than elongated car chases filled with various kinds of sexy imagery – shiny chrome bodywork on the autos, scantily clad women draped over them – and star increasingly anonymous hunky male leads caught up in some kind of flaccid crime plot which involves having to drive at ludicrous speeds. Having already gone through Paul Walker, Vin Diesel and Tyrese Gibson, the third instalment stars Lucas Black (all grown up after his performance as a kid in the Oscar-winning Sling Blade), as Sean Boswell, a teenage troublemaker sent to live with his strict military father in Japan, and who gets caught up in the underground world of ‘drift racing’ round the streets of Tokyo. Read more…
THE OMEN – Marco Beltrami
Original Review by Jonathan Broxton
When Marco Beltrami was asked to score director John Moore’s remake of The Omen, it’s difficult to know whether he jumped for joy, or groaned in dismay. Jerry Goldsmith won his one and only Academy Award for his score for the original Omen in 1976, and in doing so added a new dimension to the way horror movies are scored: the ‘Latin Chant’ has become so-over used these days that it’s almost a cliché, but back in the day when Goldsmith first used them, they were groundbreaking. Beltrami is, of course, a former student of Goldsmith’s at USC, and so stepping into his great teacher shoes must have been a daunting prospect indeed. The wonderful news is that, ultimately, Beltrami has produced a wonderful modern horror score which is original to Beltrami’s musical sensibility, but can also stand as a loving homage to his mentor. Read more…
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