Tag Archives: Alan Silvestri

RED 2 (2013)

NOTE: Review originally written for and posted at MovieByte.com. To see this post and check out the guys over at MovieByte, click here!
RED 2

RED, a 2010 film starring Bruce Willis, Mary-Louise Parker, John Malkovich, Morgan Freeman, and Helen Mirren, was great because it brought something new to the table: older actors, most not known for starring in action films, coming together to create an action film that works as both a good action film and as a good comedy too. However, I was slightly concerned for the sequel; could the filmmakers capture what was special about the first film without rehashing it in the second? Luckily, I think that they (mostly) pulled it off.

RED 2 picks up where the first film left off, with Frank Moses (Bruce Willis) and now-girlfriend Sarah Ross (Mary-Louise Parker) trying to live a normal life together. However, Frank’s efforts to keep Sarah safe and out of harm’s way fail when the pair are sucked into a plot to find a nuclear device that was lost in Russia several years ago. Marvin Boggs (John Malkovich) and Victoria Winslow (Helen Mirren) are back to help, with a blast from Frank’s past returning as well – Katya, played by Catherine Zeta-Jones, who is described as “Frank Moses’ kryptonite.” It’s a race against the clock as the team tries to find the weapon while trying to avoid assassination attempts by “the world’s number one contract killer,” Han J0-Bae (Lee Byung-Hun).

It’s nice to see the original cast return, although I must admit that Morgan Freeman’s character is a missed presence. Bruce Willis as Frank brings back a lot of the interesting back and forth of being a stone-cold killer and someone in love, which brings some more humor to the table. Mary-Louise Parker as Sarah is mostly great, but I did think that the character was a bit too over-the-top eccentric at times. Most of that, however, can be blamed on the presence of Catherine Zeta-Jones character, Katya, who I didn’t like at all. I didn’t like the rivalry between her and Sarah, which felt forced at times, such as in the car chase scene. I understand that there needed to be a reason to create tension between Sarah and Frank, but I thought that it had already been established pretty well by showing Frank’s worry at Sarah’s involvement and apprehension at her carrying a gun, something that resolved appropriately later in the film. Oh well. Anyway, John Malkovich as Marvin and Helen Mirren as Victoria are probably my favorite two characters of the film; Marvin is kooky in all the right ways, and seeing Helen Mirren firing guns out both windows of a car (see image above) is worth ticket price. Anthony Hopkins makes an appearance as well as Dr. Edward Bailey, a wonderfully quirky character who has a surprise or two up his sleeves. I was a little iffy on my opinion of him at first, but he certainly grew on me and became one of my favorite parts of the film.

Very little of the humor in the film feels forced, making the conversations and interactions between characters feel natural. Many of the jokes are brought about by the different worldview that these characters have compared to normal people; for example, Marvin’s negative observation at the start of the film about how Frank “[hasn’t] killed anyone in months” or Frank’s gift of a personalized handgun to Sarah being seen as a romantic gesture. Some of the humor is even pretty tongue-in-cheek, such as when Victoria infiltrates an insane asylum by eccentrically declaring herself “the Queen of England,” a reference to Helen Mirren’s arguably most famous role as Queen Elizabeth II in the 2006 film The Queen. Composer Alan Silvestri’s score is entertaining as well, despite it being completely different than anything I’ve heard from him before. He does a great job with creating music that drives the film forward without intruding on what’s happening on-screen.

I have a couple of spoiler-y dislikes that I won’t discuss here, but, in the grand scheme of things, they aren’t all that important. What IS important, though, is that, despite not being as good overall as the first film, it is still just as fun, bringing lots of laughs along the way. There is a nice twist at the end of the film that I honestly didn’t see coming, which is always nice, the stylized scene changes are well-done and appropriately comic book-esque, and it takes what was fun about the first film and does something new with it. It all boils down to this: if you liked the first film, then RED 2 is definitely worth checking out.

-Chad

Rating: 3.5 (out of 5)

MPAA: PG-13 – for pervasive action and violence including frenetic gunplay, and for some language and drug material


Captain America: The First Avenger (2010) – Alan Silvestri

Really, if I chose any soundtrack other than Alan Silvestri’s Captain America: The First Avenger for today, I don’t know if I could call myself an American.

The score to Captain America is one of my favorites of the Marvel Cinematic Universe, helped along by the fact that Alan Silvestri (Back to the FutureWho Framed Roger Rabbit, Forrest Gump) is also one of my favorite film composers, and nothing quite says “America” like the Cap’s main theme (as far as film themes go, that is).

Most of the Captain America score is pretty excellent, but I’d be lying if I said that I didn’t hear lots of Back to the Future and Night at the Museum throughout. For example, compare the opening seconds of “Hydra Lab” with “George to the Rescue – Pt. 1” from Back to the Future (click titles for YouTube links). Captain America’s “Farewell to Bucky” is the track that sounds especially like some bits of Night at the Museum. Sure, it’s a little disappointing, but the theme itself takes away a lot of that disappointment for me…it’s just too darned American/fun.

I really don’t have too much to say about this one; it is what it is and it does it well. Sure, it borrows freely from Silvestri’s other scores, but it still manages to be one of the better superhero soundtracks that I’ve ever heard…certainly not the best, though. But with a main theme like this and a song composed by famed Disney composer Alan Menken (Beauty and the BeastAladdinTangled), called “Star Spangled Man”, how can you go wrong?

Rating: 3.5 (out of 5)

1. “Captain America Main Titles”    0:56

2. “Frozen Wasteland”    1:53

3. “Schmidt’s Treasure”    3:01

4. “Farewell to Bucky”    2:50

5. “Hydra Lab”    1:54

6. “Training the Supersoldier”    1:08

7. “Schmidt’s Story”    1:59

8. “Vitarays”    4:25

9. “Captain America “We Did It””    1:59

10. “Kruger Chase”    2:55

11. “Hostage On the Pier”    2:46

12. “General’s Resign”    2:18

13. “Unauthorized Night Flight”    3:13

14. “Troop Liberation”    5:06

15. “Factory Inferno”    5:06

16. “Triumphant Return”    2:16

17. “Invader’s Montage”    2:16

18. “Hydra Train”    3:27

19. “Rain Fire Upon Them”    1:39

20. “Motorcycle Mayhem”    3:05

21. “Invasion”    5:09

22. “Fight on the Flight Deck”    3:30

23. “This is My Choice”    3:26

24. “Passage of Time”    1:35

25. “Captain America”    1:08

26. “Star Spangled Man”  2:53

27. “Captain America March”    2:36

Total Length: app. 74 min.

iTunes Album Link

-Chad


Who Framed Roger Rabbit (1988) – Alan Silvestri

Who Framed Roger Rabbit, directed by Robert Zemeckis (my favorite film director), has been one of my favorite movies since I first saw it as a child several years ago. A technical breakthrough as well as a critical success, the score by regular Zemeckis collaborator Alan Silvestri also ranks among my favorites.

Since the film takes place in the year 1947, Silvestri was faced with the challenge of composing music that fit well with the period. He succeeds beautifully, delivering laid-back tracks such as “Valiant & Valiant” and “Eddie’s Theme”. He also manages to capture the sort of fun and wackiness found in the classic cartoons of the period, such as the Tom & Jerry cartoons of the early ’40s. This wackiness can be heard in the tracks “Maroon Cartoon”, and “Toontown”, as well as in a few other spots throughout the score.

Perhaps the most appealing part of Silvestri’s score is the smooth jazziness of it, which, for me, feels typical of the classic film noir genre, a category that the movie (roughly) falls into.

However, the score for Who Framed Roger Rabbit is not without its faults. My main complaint is that there are chunks here and there that are hugely reminiscent of Silvestri’s earlier score to Back to the Future, another Zemeckis film (and my personal favorite). The similarities between these two film scores are particularly evident in the more suspenseful moments. The themes, obviously, are completely different, but it is in these moments when Silvestri is illustrating the unfortunate predicaments of the characters onscreen that it becomes harder to distinguish the two.

Despite its faults, Alan Silvestri’s score to Who Framed Roger Rabbit is hugely fun, whimsical, and relaxing at times, with one of the best “End Credits” tracks out there. Silvestri is a wonderful composer who succeeds in drawing his audience further into the world of the movie.

Rating: 4 (out of 5)

1. “Maroon Logo” 0:192. “Maroon Cartoon” 3:25

3. “Valiant & Valiant” 4:22

4. “The Weasels” 2:08

5. “Hungarian Rhapsody (Dueling Pianos)” Tony Anselmo, Mel Blanc 1:53

6. “Judge Doom” 3:47

7. “Why Don’t You Do Right?” Amy Irving, Charles Fleischer 3:07

8. “No Justice for Toons” 2:45

9. “The Merry-Go-Round Broke Down (Roger’s Song)” Fleischer 0:47

10. “Jessica’s Theme” 2:03

11. “Toontown” 1:57

12. “Eddie’s Theme” 5:22

13. “The Gag Factory” 3:48

14. “The Will” 1:10

15. “Smile, Darn Ya, Smile!/That’s All Folks” Toon Chorus 1:17

16. “End Title (Who Framed Roger Rabbit)” 4:56

Total Length: app. 47 min.

iTunes Album Link

-Chad