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Posts Tagged ‘John Ottman’

SUPERMAN RETURNS – John Ottman

June 30, 2006 2 comments

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…

FANTASTIC FOUR – John Ottman

July 8, 2005 Leave a comment

fantastic4Original Review by Jonathan Broxton

All of a sudden, it seems, Hollywood is full of super-heroes. The comic book, once the exclusive domain of spotty teenagers and their escapist fantasies, is now the deepest well of cinematic inspiration for the movie making machine, having recently sprung forth with new versions of Superman, Batman, Spider-Man, X-Men, Hulk, Daredevil, Elektra, Blade, The Punisher, Hellboy, Sin City, and a multitude of others. In many ways, the Fantastic Four can lay legitimate claim to being the grand-daddy of them all, having first appeared in print way back in 1961. The quartet first appeared on film in 1994 in a movie which was made with the intent of it never seeing the light of day, purely as an exercise so that the production company could hold on to the publication rights. That debacle aside, director Tim Story’s 2005 summer blockbuster marks the first time the four have “properly” appeared on the big screen. Read more…

HOUSE OF WAX – John Ottman

May 6, 2005 Leave a comment

houseofwaxOriginal Review by Jonathan Broxton

I realize the statement I’m about to make is a very sweeping generalization, but I’m finding that I don’t “get” John Ottman. When he first burst onto the scene back in 1995 with his score for The Usual Suspects, I was one among many who considered him to be a truly fresh and original talent in film music. Subsequent scores such as Incognito, Snow White, Apt Pupil and Goodbye Lover maintained the high standards, but recently I have been finding myself growing more and more disinterested in his music, and I can’t quite out my finger on the reason why. X-Men 2 was OK, and Gothika and Hide and Seek were competent but little more, but his music of late has been developing a disturbing “samey” quality that continues from project to project. While it’s important to have a voice of your own, it’s also important to have the compositional ability to switch genres effectively, and I still find it amazing how Ottman continues get himself attached to massive franchises like X-Men, Fantastic Four and the upcoming Superman Returns without really (in my opinion) showing himself to have a great deal of range. Read more…

HIDE AND SEEK – John Ottman

January 28, 2005 Leave a comment

hideandseekOriginal Review by Peter Simons

Hide and Seek is a new thriller-with-a-twist from director John Polson, who previously scored a hit with the “Fatal Attraction for teenagers” film Swimfan. Following the untimely death of his wife, psychologist David Callaway (Robert De Niro) and his young daughter Emily (Dakota Fanning) find that life in the Big Apple is not helping them in the grieving process. Seeking solace and a fresh start, the father and daughter move from the city to the countryside of upstate New York, acquiring a rambling farmhouse away from everything that reminds them of their past. Eager for his daughter to settle in the community, David is at first delighted when Emily proclaims to have a new “friend” named Charlie. Though he only seems to exists in the girls imagination, Charlie quickly has a profound effect on the Callaway’s life, interfering with David’s tentative relationship with local woman Elizabeth (Elizabeth Shue), and attracting the attention of a fellow psychiatrist (Famke Janssen) and the local cop (Dylan Baker). Before long, Charlie’s mischievous antics turn very serious, leading David to believe that the relationship between Charlie and Emily may not quite be what it seems… Read more…

X-MEN 2 – John Ottman

May 2, 2003 Leave a comment

xmen2Original Review by Jonathan Broxton

Following the musical debacle of the original X-men movie in 2000, in which the studio heads at Fox meddled so much with Michael Kamen’s score it rendered it almost redundant, it stands to reason that director Bryan Singer would return to composer John Ottman, for the sequel. Ottman, who had worked with Singer previously on The Usual Suspects and Apt Pupil, had been away making his own movie, Urban Legends: Final Cut, and was unavailable to score X-Men 1. His efforts here bear all the hallmarks of a composer trying to stamp his own musical authority upon a series, and establish himself as the obvious composer of choice for future movies in the franchise. He has only partly been successful. X-Men 2 picks up where the original movie left off: the evil Magneto (Ian McKellen) is incarcerated in a plastic prison; Wolverine (Hugh Jackman) is scouring the globe trying to unravel the mysteries of his past; and the various other mutant members of the X-Men continue to fight the fight against evil, under the benign authority of Dr. Xavier (Patrick Stewart). However, when a renegade mutant attempts to assassinate the President of the United States, it becomes apparent that past differences must be put aside, and the mutants loyal to Magneto and Xavier must join forces to stop a new enemy which could destroy all mutants. Read more…

LAKE PLACID – John Ottman

July 16, 1999 Leave a comment

lakeplacidOriginal Review by Jonathan Broxton

In recent years, Hollywood has regurgitated the “mutant killer something-or-other” storyline for an alarmingly large number of films: cockroaches in Mimic, lizards in Godzilla, crustaceans in Deep Rising, sharks in Deep Blue Sea, the list goes on. Crocodiles are the newest addition, with the arrival of Steve Miner’s Lake Placid, a new horror thriller set in the very same mountain town that staged the Winter Olympics back in 1980. Read more…