MOVIE MUSIC UK

Yes it’s that time of year again! The new year is already one quarter gone and, as the world of mainstream blockbuster cinema and film music continues to be impacted by the COVID-19 Coronavirus continues, we must again look to smaller international features not as reliant on massive theatrical releases to discover the best new soundtracks. As such I am very pleased to present the first installment (for this calendar year) in my ongoing series of articles looking at the best “under the radar” scores from around the world.

The titles included are two Spanish action thrillers, a Vietnamese romantic drama, an Italian period murder-mystery television series, a Russian fantasy-adventure sequel, and a contemporary French TV series re-telling a classic story about a gentleman thief!

BELOW ZERO – Zacarías M. de la Riva

Below Zero – or Bajocero – is a Spanish-language action thriller directed by Lluís Quílez. The film stars Javier Gutiérrez as Martín, a prison transport convoy driver transporting a group of dangerous inmates across a remote, icy terrain at night. Inevitably, the bus crashes, and soon Martín finds himself not only having to fight for survival against the prisoners, but also in a race against time before the sub-zero temperatures kill them all. The film co-stars Karra Elejalde and Luis Callejo, and has an original score by the super-talented young Spanish composer Zacarías M. de la Riva, whose previous impressive works include Copito de Nieva in 2011, Automata in 2014, and the two Tadeo Jones animated films.

The score is an impressive, pulsating contemporary thriller score – a fairly new sound for de la Riva – which makes especially extensive use of all kinds of percussion (synthetic or acoustic) and electronics, alongside a string section, and the score’s really unique tonal idea – a pipe organ. The two main characters – Martín, the protagonist prison officer, and García, the lead prisoner – are the only two characters with specific thematic ideas, although Martín’s theme doesn’t really reveal itself until the very end of the score, and García’s theme is more a set of specific instrumental ideas comprising a slightly detuned French horn and a high string cluster. The theme heard in the opening cue, “Below Zero,” is excitingly energetic, but underpinned with a little bit of string-led melancholy, and contains some impressively dense writing for clusters of throbbing cellos.

Most of the score thereafter is built around action, tension, and suspense. “Jackhammer” is as relentlessly imposing as one would expect based on its name. “Convoy” features a series of electronic tones and rhythms which at times remind me of Brad Fiedel’s Terminator scores; these ideas return later in the nerve-shredding and impressively dissonant “Martín Runs”. The extended “Dawn” reprises the theme heard in the opening cue with a powerful intensity, but overall is a more tonal piece, with a significant amount of warmth in the strings that stands in stark contrast to the rest of the score, and feels much more emotionally striking because of it. “Sinking” is desperately bitter and oppressive, with a notably cacophonous electronic soundscape, and some compositional stylistics that (perhaps intentionally) recall the more aggressive moments of James Horner’s Titanic.

The final three tracks offer more in the way of relief. “Confession” continues on with the dominantly dark atmosphere, but offers a moment of catharsis towards the end of the cue. “Final Resolution,” as one might expect, contains perhaps the warmest and most emotional music of the score, building over the course of more than four minutes to a stirring finale featuring especially prominent brass. Finally, in the conclusive piece “Martín,” his leitmotivic identity emerges in the most concrete and recognizable way, swelling with noble determination, and combining well with a final statement of the main Below Zero theme.

While quite a bit of Below Zero is harsh and dissonant, and features prominent electronic sounds and post-production manipulation, there is nevertheless a lot here that is impressive, and it’s nice to see Zacarías M. de la Riva bringing a new sound into his musical palette, and showcasing his versatility. The score is available as a digital download from Moviescore Media and via most good online retailers

Track Listing: 1. Below Zero (2:20), 2. Night Transfer (3:20), 3. Jackhammer (2:12), 4. Getting In (2:33), 5. Convoy (2:46), 6. García (2:45), 7. Martín Runs (1:38), 8. Dawn (6:44), 9. Soledad (1:49), 10. El Fandango (1:41), 11. Sinking (5:29), 12. Confession (4:24), 13. Final Resolution (4:24), 14. Martín (End Credits) (3:55). Moviescore Media MMS-21001, 46 minutes 08 seconds.

CAMELLIA SISTERS – Christopher Wong, Garrett Crosby, and Ian Rees

Camellia Sisters is a Vietnamese romantic drama film, the latest instalment in the massively popular ‘Gái Già Lắm Chiêu’ series of films that began back in 2016. The plot follows the lives of three sisters – played by Hoang Dung, Khanh Le, and Kaity Nguyen – who reunite in the wealthy palace they grew up in after many years of estrangement, and are forced to deal with the numerous scandals that have dogged in their family for generations, the most important of which is the legendary Phoenix Robe, an ancient garment whose notoriety unravels darks secrets within the family. The film is directed by Nam Cito, and has original music by Chinese-American composer Christopher Wong, who scored all the previous entries in this series (The Last Egg in 2016, The Cougar Queen in 2018, The Royal Bride in 2020), and who this time shares above-the-title scoring credit with his long-time collaborators Garrett Crosby and Ian Rees.

In describing the score, Wong says that “while the previous movies in the Gái Già Lắm Chiêu series were romantic comedies, Camellia Sisters is closer to a mystery drama. In addition, the palace in Hue that the film was shot in gives a sense of high society. As a result, the score has a more serious and mysterious tone than The Royal Bride did, and every now and then makes references to classical music. A heightened sense of drama is felt in the music as well, since the story of the film involves a series of dark family secrets that one by one unravel in tragic fashion.“

The resulting score is quite superb, a clever blend of numerous styles and influences that come together to make a satisfying whole. There are several recurring main themes, two of which are actually included as ‘concert suites’ towards the end of the album. Wong’s main contribution to the score is the “Sisters Theme,” a stunningly beautiful, romantic-tragic piece for strings and piano that drips with emotion, melancholic regret combined with sweeping lushness. Ian Rees’s main piece is the “Camellia Tango,” a wonderful piece of classical pastiche full of flamboyant gypsy fiddles, accordions and castanets, and fiery passion for days. Garrett Crosby’s centerpiece is the main title theme, “From the Bridge,” a bold and tempestuous track featuring a precise rhythmic base reminiscent of Justin Hurwitz’s First Man, from out of which the noble brass-and-string melody emerges. The vocals, by Wong’s wife Holley Replogle, only add to the scope and drama.

Much of the rest of the score builds out from these main thematic constructs, but there also numerous standalone pieces that are enormously impressive in their own right. Wong’s “The Auction” is a piece of outstanding drama scoring, with a nervous string-and-percussion rhythmic core which makes the development of the cue exciting. Wong’s theme for “The Robe” is magical, enhanced by crystalline metallic textures above a bed of elegant strings and mysterious woodwinds. Rees’s pair “Party Anxiety” and “Deaf” are comedic and playful, and seem to intentionally reference the ‘Dance of the Reed Flutes’ from Tchaikovsky’s The Nutcracker. Wong’s “Only Pawn” is a lovely exploration of the Sisters theme, and has a hint of Andrew Lloyd Webber’s Cats to it. Rees’s “Thief” is an action music variant on the tango. “Replaced” becomes very grand and dominant as it builds over the course of over five minutes, a mass of bold brass calls and stirring string figures.

Later, Reese’s “Unwelcome Guest” has a passionate romantic lilt in its piano writing. Crosby’s “Missing Robe” is a darkly pulsating piece of action-drama featuring a massive bed of resounding brass, moody cello lines, callbacks to Wong’s robe motif, and subtle allusions to Mozart. “False Treasure” is a variation on the Sisters theme imbued with rhapsodic intensity. “Finding Jonathan” is energetic and dynamic, is enlivened by some sultry saxophone writing and allusions to the tango. Crosby’s “25 Years” has a gorgeous piano rhapsody backed by strings that becomes emotional and dramatic as it develops, and is enhanced by tingling cymbal rings. “Family Secrets” starts out using the piano and strings in a different way, quietly tender and softly endearing, but it becomes much more dramatically poignant as it builds towards its climax. The conclusive pair “Late Apology” and “Mother” – both by Wong – overflow with rich and moving emotion, especially when the vocals combine with a church organ.

Camellia Sisters is a truly impressive score by Wong, Crosby, and Rees, who have now been writing outstanding music for Vietnamese movies for over a decade, seemingly without anyone in the outside world noticing. As I wrote elsewhere, I will never understand why Hollywood isn’t beating down their doors, begging them to score their movies, because their music is SO good, and Camellia Sisters is an example of exactly what I’m talking about. It’s a score which blends rich orchestral classicism with some exciting contemporary action and drama, memorable emotional themes, and even a little bit of delicious world music, all to excellent effect. The score is available as a digital download from Moviescore Media and via most good online retailers.

Track Listing: 1. From the Bridge (4:05), 2. The Auction (5:59), 3. The Robe (2:06), 4. Party Anxiety (1:34), 5. Only Pawn (4:22), 6. Handsome Survivor (2:22), 7. Thief (1:33), 8. Deaf (2:10), 9. Replaced (4:35), 10. The Church (2:15), 11. Antiquities (1:51), 12. Unwelcome Guest (1:51), 13. Missing Robe (3:57), 14. False Treasure (2:55), 15. Meeting Jonathan (1:21), 16. Singing Opera (1:43), 17. Hiding the Robe (2:15), 18. Seen with Mr. Nghi (1:58), 19. 25 Years (3:16), 20. Plotting Against Her (1:32), 21. Family Secrets (3:51), 22. Late Apology (2:32), 23. Mother (3:22), 24. The Sisters Theme (2:53), 25. The Camellia Tango (2:54). Moviescore Media MMS-21006, 69 minutes 27 seconds.

IL COMMISSARIO RICCIARDI – Pasquale Catalano

Il Commissario Ricciardi is an Italian television series based on a series of novels by Maurizio de Giovanni, which debuted on the RAI-1 network in January 2021. The show is set in Naples in the 1930s, and follows the adventures of police commissioner Luigi Alfredo Ricciardi (Lino Guanciale), who is fighting crime and corruption while also dealing with the rise of Mussolini’s fascist government. The twist in the tale is the fact that Ricciardi is able to see and hear the ‘ghosts’ of the murder victims in their last moments, which gives him a clairvoyant insight into the cases he investigates.

The score for Il Commissario Ricciardi is by the Italian composer Pasquale Catalano, who is super prolific within the Italian film industry, but doesn’t have much of a world profile. His most high-profile scores to date are probably Le Conseguenze dell’Amore (2004), Mine Vaganti (2010), Barney’s Version (2010), Magnifica Presenza (2012), Allacciate le Cinture (2014), Suburra (2015), and Napoli Velata (2017), but none of these have made much of an impact internationally, which is a shame because he can be very, very good indeed. Case in point: this score, which has wonderfully classical and old fashioned sound that befits the tone and setting of the show.

The main theme for “Il Commissario Ricciardi” is an elegant theme for piano and strings, pizzicato textures, and delicate woodwinds, underpinned with a subtle hint of mystery that foreshadows the story to come. Several cues thereafter standout as highlights. “Tema di Enrica” is a lovely romantic melody anchored by a lilting cello and warm, sunny piano lines. “Valzer di Bambanella” is a wonderful piece of Nino Rota italiana pastiche, a luscious combination of accordions, strings, and flutes. “Pianissimo” is beautifully dark and moody, while the subsequent “Meglio di Maggio” takes the same pianissimo theme but turns into a sultry piece of whisky-sodden jazz. “Famiglia Maione” has a light tropical vibe which unexpectedly engaging, and “Questore” is a humorous, languid trio for clarinet, piano, and fiddle.

“Creature Abbandonate” is a quivering, dream-like romantic piece for a high, strained violin. “Secondo Ricciardi” is a strident, urgent piece for split strings which are both elegantly lyrical and dynamically forthright. “Enrica Sogna” has a hint of Alexandre Desplat to it, which I love, while “Tata Rosa” reprises Enrica’s theme with grace and dexterity. The gorgeous “Raffaele Maione” uses evocative guitars and flutes to cast a nostalgic spell, while at the other end of the spectrum the eerie “Fantasmi” offers sinister dissonances and pretty-creepy piano tones to illustrate the supernatural element of the story. Running through all these cues are numerous references to the main Il Commissario Ricciardi theme, which anchors the score in place and ensures that the tortured detective remains at the core of the story.

This is really outstanding score by Pasquale Catalano, which will absolutely appeal to anyone with a love for long-established European classicism in their film music. The varied textures Catalano uses makes the score sound continually fresh and interesting and, while the show itself might now gain an international following, I certainly hope the music does. The score is available to stream and as a digital download from most good online retailers.

Track Listing: 1. Il Commissario Ricciardi (1:51), 2. Tema di Enrica (2:41), 3. Valzer di Bambenella, Part 1 (2:12), 4. Pianissimo (2:46), 5. Meglio di Maggio (3:14), 6. Famiglia Maione (2:02), 7. Tema di Lidia, Part 1 (1:51), 8. Questore (2:05), 9. Creature Abbandonate (2:36), 10. Secondo Ricciardi (2:38), 11. Enrica Sogna, Part 1 (1:24), 12. Enrica Sogna, Part 2 (1:10), 13. Lidia Tango (1:39), 14. Bombid (2:22), 15. Tata Rosa (3:34), 16. Strada di Casa (1:48), 17. Lucia Maione (0:44), 18. Napoli va Veloce (2:18), 19. Raffaele Maione (2:43), 20. Racconto Notturno (1:32), 21. Fantasmi (2:52), 22. Ricciardi Interroga, Part 1 (3:09), 23. Ricciardi Interroga, Part 2 (3:08). Rai Com, 52 minutes 32 seconds.

THE LAST WARRIOR: ROOT OF EVIL – George Kallis

The Last Warrior: Root of Evil is a Russian fantasy-adventure film, the sequel to the 2017 film which initially went by a multitude of translated English names, but eventually settled on The Last Warrior. The film is again directed by Dmitriy Dyachenko and stars Viktor Khorinyak as Ivan, the young man who in the first film found himself magically transported to a parallel universe inhabited by characters from traditional Russian fairy tales. In this film Ivan again returns to the land of Belagoria in order to defeat a new evil which has emerged, and which threatens the very existence of the magical realm. The film was produced by ‘Russian Disney’ and has been a popular success in its home country following its release back in January.

Returning to score The Last Warrior: Root of Evil is the Cypriot composer George Kallis who provided a rousing, adventurous score for the first film, and who continues the trend here. Much like the first score, The Last Warrior: Root of Evil is a multi-thematic fantasy extravaganza, built around a series of recurring motifs and melodies which are set into numerous sequences of action, drama, light comedy, and sweeping fantasy adventure. The score is incredibly dense – there are at least ten thematic ideas competing for dominance – some of which are reprised from the first score, and some of which are brand new. The rousing main Last Warrior theme gets numerous statements, including in the opening cue “The Root of Evil” and in the conclusive “Whatever the Future Holds,” while also appearing in many of the score’s bombastic action cues.

Many of the score’s fairytale characters get individual themes, from the surprisingly powerful motif floating doughball Kolobok, to the heroic theme for House on Chicken Legs and its owner Baba Yaga. The incredible “Giant Whale” gets a theme for swashbuckling theme for the full orchestra and the massed choir, and the immortal warrior Koschei has a heroic motif of his own, as does the land of Belagoria itself, the fantasy land where the action takes place. The evil witch Varvara sees her malignant theme from the first film returning, with an especially notable statement in the powerful “A Witch, an Owl and a Flying Wolf,” but her identity is mostly subservient to that of Rogoleb, the main new villain of the piece, whose theme is a dominant march for strings and chorus and can be heard prominently in cues like “Evil Commands,” “Cursed,” and especially “Rogoleb Awakens”. Beyond this, there is a gorgeous and ethereal ‘hope theme’ which is heard at the beginning of “The Root of Evil” and returns later with majestic grandeur in “Released,” plus a love theme for the protagonist Ivan and the lovely Vasilissa, a ‘tragic loss’ theme that gets a fantastic statement in “An Unexpected Meeting,” and several nods to Russian folk music to give the score a sense of place.

I love the flamboyant action that dominates much of the score, with cues like “Retreat,” “Ambush,” the intense “Alone Again,” “Attacking the Guards,” and the monumental pair “The Battle With the Beast” and “Evil Defeated” standing out as notable highlights. The comedy hi-jinks of “Finding Kolobok” and others offers a playful counterpoint, while “To the Land of the Dead” brings some light horror to the proceedings. Throughout it all, Kallis’s orchestral know-how is firmly on show, and although some of the rapid-fire changes in tempo, style, and thematic content could make your head spin, the dexterity with which he keeps everything moving is impressive indeed.

Perhaps the score’s only drawback is the fact that the sonics of the score are occasionally a little lacking, as Kallis used a remote orchestra in Macedonia for much of the score due to it being written a recorded in COVID lockdown, but this is a minor matter, and pales into insignificance against the depth and complexity of Kallis’s writing. The Last Warrior: Root of Evil is a superb, rich, thematically dense, action packed score for orchestra and chorus, which demands repeated listens in order to unpack everything is has to offer. Kallis has hinted that this is the middle score of a planned trilogy, which gives us the mouthwatering prospect of yet more music like this a couple of years from now! The score is available to stream and as a digital download from most good online retailers.

Track Listing: 1. The Root of Evil (2:06), 2. Finding Kolobok (2:54), 3. Evil Commands (1:31), 4. Big Warrior Games (1:30), 5. Cursed (2:15), 6. A Witch, an Owl and a Flying Wolf (3:13), 7. Retreat (3:22), 8. An Old Story (2:45), 9. On The River (2:27), 10. The Giant Whale (2:25), 11. Trouble in the Sky (2:34), 12. To the Land of Dead (3:21), 13. An Unexpected Meeting (3:08), 14. Around the Fire (1:59), 15. Ambush (2:23), 16. Alone Again (1:41), 17. Betrayal (3:03), 18. Attacking the Guards (4:54), 19. Rogoleb Awakens (3:21), 20. The Battle with the Beast (3:02), 21. Evil Defeated (5:41), 22. Released (4:14), 23. Whatever the Future Holds (2:57). Walt Disney Records, 66 minutes 34 seconds.

LUPIN – Mathieu Lamboley

The character of Arsène Lupin has been a staple of French fiction since he was created in 1905 by writer Maurice Leblanc. Lupin is a gentleman thief and master of disguise who moves in high society circles and, despite his own roguish escapade, often acts as a force for good operating outside the law, bringing master criminals and other assorted thieves and murderers to justice. He has inspired numerous novels, films, and television series in the intervening century; this new series, which premiered on Netflix in January 2021, is a contemporary re-imagining of the character, starring Omar Sy as professional thief Assane Diop, the only son of an immigrant from Senegal, who is inspired by the Arsène Lupin to seek revenge against the wealthy family who framed his father for a crime he did not commit.

The score for Lupin in by French composer Mathieu Lamboley, whose profile in French cinema has been steadily growing since he first appeared on the scene in 2007, and who impressed me enormously with his score for Minuscule – Les Mandibules du Bout du Monde in 2018. He’s a bit of a chameleon composer, comfortable in multiple genres and with multiple approaches, but I personally really enjoy his work in the mostly-orchestral medium, and Lupin is one of those.

The main theme for the character, “Arsène,” is a playful little idea for a mischievous clarinets underpinned with pianos, but which then picks up a more robust string undercurrent, a tinkling cimbalom, voices, and a contemporary percussion beat that comes across in a similar vein to David Arnold’s Sherlock scores, and is intended to be a hip-hop reference to Diop’s culture and musical tastes. There also are some tiny, tiny resemblances between this score and Debbie Wiseman’s masterpiece for the 2004 film Arsène Lupin, especially in the piano writing, but I’m sure that’s coincidental. There’s a real coolness, a swagger, and a sense of style to the theme which is really compelling.

The theme for the show’s main villain, “Pellegrini,” is a deliciously dark piece for moody strings. “Etretat” again uses the cimbalom offset against strident string figures, again creating a mood of classical elegance and shadowy mystery. “L’Aiguille Mystérieuse” uses some unusual dissonances and off-kilter chord progressions to create an unsettling mood. The Arsène theme figures strongly throughout much of the score, although it is sometimes cleverly disguised by Lamboley to hide its origins – for example, it appears as a much slower and more ambiguous part of most of “L’Emeraude”. Meanwhile, cues like “Gentleman,” “Cambrioleur,” and “Coffre-Fort,” all come back with the hip-hop beats, with several of them given even more or an urban groove from a chugging electric guitar rhythm. “Le Voyageur” sees the return of the lithe clarinet, quirky and charming. “Diamants” is a terrific action-chase sequence which blends the main theme with a set of jazzy syncopated piano rhythms and string runs which Lalo Schifrin or John Barry would have loved.

Overall, there is a real richness and depth to Lamboley’s writing, and to his adherence to classical orchestrations, which makes the entire score thoroughly engaging. There is so much good music coming out of France right now, a lot of it thanks to exciting younger composers like Lamboley, Laurent Perez del Mar, Cyrille Aufort, and many others, and Lupin is a terrific example of what that sounds like. The score is available to stream and as a digital download from most good online retailers.

Track Listing: 1. Arsène (2:29), 2. Pellegrini (1:53), 3. Juliette (1:25), 4. Etretat (1:38), 5. L’Emeraude (3:14), 6. L’Aiguille Mystérieuse (2:01), 7. Gentleman (2:08), 8. Cambrioleur (1:19), 9. Les Confidences d’Assane (3:03), 10. Coffre-Fort (2:39), 11. Claire (1:48), 12. Le Voyageur (1:48), 13. Diamants (1:38), 14. Louvre (3:12), 15. Lupin (3:53). Maisie Music, 34 minutes 00 seconds.

THE VAULT – Arnau Bataller

The Vault, also known as Way Down, is an English-language Spanish-produced heist thriller directed by Jaume Balagueró. The film stars Freddie Highmore as Thom Laybrick, an engineer fascinated by the complexities of a bank vault dep beneath the main branch of the Bank of Spain. When he learns that a legendary stored treasure will be kept there for a short period, Thom hatches a plan to break in and steal it using a very specific 105-minute window of opportunity – the 2010 FIFA World Cup final between Spain and the Netherlands, which will distract both the bank’s employees, and most of the rest of the country. The film co-stars Famke Janssen, Liam Cunningham, and Sam Riley, and has a score by one of the most exciting young Spanish film music composers, Arnau Bataller.

In the album’s liner notes, Bataller says “the music of The Vault is the sum of many musical ingredients mixed to obtain a fresh, exciting cocktail that leaves a good taste in the mouth of the audience. We start putting the sound of the viola da gamba representing some historical elements. Then we add a few drops of “passion”, the force that moves our protagonists represented by a theme played by strings. We continue with touches of thriller and action, planning the robbery, high-tech equipment, accompanied by lines of pulsing synthesizers, hang drums, guitars, and keyboards. And we finish by sprinkling some epic music for our protagonists, who face all sorts of problems while most people in Spain were celebrating a historical moment: the victory of the 2010 World Cup.”

This culinary description, while unusual, is actually pretty apt. The score is essentially a music salad, bringing all these ideas together and often playing them off each other in interesting ways. I like the modern cool vibe and Zimmer-style energy of the main title cue “The Vault”. Cues like “The Action Starts,” “The Alarm,” and “The Bridge” have a throbbing electronic pulse base, over which Bataller layers numerous interesting musical textures, ranging from deep bowed basses to sometimes quite dissonant strings. “The Galleon” and “The Plan” showcase the unique sound of the viola de gamba to excellent effect.

“Goal!” is a rousing and triumphant celebration of Spain’s World Cup triumph, and is replete with soaring brass and string figures, augmented by a synth choir; this idea is revisited towards the end of “Parvis Magna”. “Mastermind” has some light jazzy ideas that are fun, as well as featuring a prominent electric guitar lick which makes it feel a little James Bond-esque. The penultimate cue “This Is the End” picks up a real head of steam as it develops, a riot of slashing and dashing strings underpinned with rapid-fire electronic beats, while the “Finale” offers a satisfying suite of everything the score has to offer, performed with real verve and gusto.

Some of the middle section does get bogged down a little in a series repetitive action licks that can be rather monotonous, which makes the score drag a little in places, but the highlights more than make up for these less engaging moments. So, while The Vault doesn’t have the powerful intensity of scores like La Herencia Valdemar or La Sombra Prohibida, or the lyrical beauty of works like Héroes or Ermessenda, there is still plenty to recommend here. . The score is available as a digital download from Moviescore Media and via most good online retailers.

Track Listing: 1. The Vault (2:32), 2. The Action Starts (4:12), 3. The Galleon (2:25), 4. Goal! (1:54), 5. Entering the Vault (4:21), 6. The Scale (2:11), 7. Mastermind (3:05), 8. The Plan (3:37), 9. Installing the Bypass (4:16), 10. The Challenge (1:52), 11. Entering the Bank (4:01), 12. The Boxes (3:27), 13. The Alarm (4:12), 14. Water (2:12), 15. Parvis Magna (3:11), 16. The Bridge (2:29), 17. This Is the End (7:14), 18. Finale (4:12). Moviescore Media MMS-21019, 61 minutes 31 seconds.