Tag Archives: Hans Zimmer

September 29, 2016

Inception (2010)

By TheCinescopePodcast

Note: This film was the main topic of discussion on Episode 9 of my podcast, The Cinescope Podcast. Give it a listen for a more in-depth discussion!

Dom_and_Malls_Experiments.jpg

Christopher Nolan is one of the more visionary film directors working in the industry today as evidenced by the audacity and realism of his Dark Knight trilogy and the scope of Interstellar. Inception is no exception, and it proves to be perhaps his most personal film to date – he wrote and fine-tuned the script over a period of nearly a decade before having the chance to actually make it, and his hard work definitely paid off.

Dom Cobb (Leonardo DiCaprio) is the world’s best dream extractor; he enters people’s dreams to steal secrets from their subconscious. He’s good at what he does, but he lives an unfulfilling life, separated from his children due to charges against him for a crime he didn’t commit. To clear the charges and see his kids again, Cobb makes a deal with Mr. Saito (Ken Watanabe), who promises to use his influence to clear Cobb’s name in exchange for inception – the placing of an idea into someone’s head via their dreams. Assembling a team to assist him, Cobb puts everything at risk in order to see his kids again, with failure meaning that he’ll be in prison for the rest of his life.

Nolan’s creativity is incredible here, with him taking things that are familiar to us, like a “kick” – the falling feeling you get while in bed that instantly wakes you up – being used in new ways, in this case as a means of waking up from a dream before the time runs out on their special dream-sharing machine. He also introduces the idea of “projections”, which are physical (within the dream itself) manifestations of our subconscious that can be spoken to in order to gain information or to learn more about the person creating the projections. I find the “mechanics” of Nolan’s dream world endlessly fascinating as I learn more about these as well as things like how Nolan envisions the effects of outside stimuli such as slaps or needing to use the restroom within the dream.

The story itself is in the style of a heist film, but the setting doesn’t allow it to be anything even remotely close to generic. For starters, Cobb and team aren’t stealing anything but are instead putting something there – an idea. There are elements of science fiction and blockbuster action, but at the same time the narrative carries a surprisingly emotion weight with it as we witness Cobb struggling with the loss of his wife and his guilt at having caused it, as well as the strained father/son relationship between Robert and Maurice Fischer (Cillian Murphy and Pete Postlethwaite, respectively). There are multiple scenes that can leave you in tears, but there are also moments of comedy (Tom Hardy’s Eames has a few notable one-liners) and incredible action sequences, with my favorite being Joseph Gordon-Levitt’s fight in a rotating hallway.

Each member of the cast shines, so I won’t talk about them all, but I do feel the need to highlight a couple of them. Leonardo DiCaprio as Cobb brings another all-star performance to the screen here, alternately treating us with scenes of anger, anguish, personal torment, guilt, and compassion. Marion Cotillard appears as his wife Mal, and we see her in various states of maliciousness and sadness. As the story between these two characters unfolds, we learn of the true tragedy that ended their marriage, made even more heartbreaking by the beautiful performances of both DiCaprio and Cotillard. Tom Hardy’s Eames shows off not only his comedic chops, but also his ability to be both intellectual and ready for action…watching his performance in this movie, you could make a pretty convincing argument for Hardy as the next (or eventual) James Bond. And the last character I’ll talk about here is Ellen Page as Ariadne, the young architect who joins to team in order to design the dream levels that the group will be diving in to. She acts as the sort of communication liaison for the audience; as someone new to the group, she’s a vehicle for exposition allowing characters to tell her (and therefore the audience) about the dream sharing process as well as a way for us to get a glimpse into Cobb’s difficulty with restraining his dangerous projection of Mal that jeopardizes their mission. Page is calm and intelligent and is therefore a comforting presence amidst all of the chaos they face on their mission. Additional shoutouts to great performances from Joseph Gordon-Levitt as Arthur (and his amazing rotating hallway/anti-gravity action scenes) and Cillian Murphy’s Robert Fischer.

I also won’t talk about Hans Zimmer’s wonderful score here, mostly because I’ve already written a review on it. However, I will say that this score marked a turning point in my opinion of Zimmer’s work. For most of the first decade of the millenium, I thought that he copied himself too often, but his music here innovated and showed him at his experimental best, and the majority of his work since then has been taken in a similar direction. Nolan/Zimmer is as inspired a pairing as Spielberg/Williams or Zemeckis/Silvestri because the two of them understand each other and have similar visions of scope and artistic expression.

This review was surprisingly difficult to write because there’s so much good to be said that I couldn’t narrow down very well. The bottom line is this: Inception is Christopher Nolan at his absolute best. The story and dream world are incredibly engaging and fun, and the performances from each of the actors as well as from Hans Zimmer are top notch throughout. I have nothing but praise for what has become one of my all-time favorite movies.

-Chad

RECOMMEND!

MPAA: PG-13 – for sequences of violence and action throughout

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November 25, 2013

12 Years a Slave (2013)

By TheCinescopePodcast

12-years-a-slave

The purpose of cinema is often to entertain, but that is not always the case; sometimes, its purpose is to inform, to educate, or to enlighten. Such is the case with Steve McQueen’s 12 Years a Slave. Though it’s certainly not comfortable viewing, it is powerful, emotional, and heart-breaking film.

Chiwetel Ejiofor plays Solomon Northup, a free black man living with his family in 1840s New York. A true story based on Northup’s memoir, 12 Years a Slave follows him as he is captured and sold into slavery, with him remaining in captivity as a slave in Louisiana for twelve years before being released. We are given a glimpse into the cruelty of the slave trade and the struggles that Northup faces during his time in captivity.

In a film full of excellent performances – with “excellent” here meaning “painfully believable” – from the likes of Benedict Cumberbatch, Michael Fassbender, Paul Dano, and Brad Pitt, among others, it’s hard to imagine that one person would stand out – but stand out he does. Chiwetel Ejiofor delivers a performance that can be described with nothing less than the word “incredible;” the emotions he brings to the story, from joy to fear to anger to depression, are each powerful in their own way, and I found myself captivated every time he was onscreen. Another standout performance comes from Lupita Nyong’o as another slave named Patsey. She goes through quite a lot throughout the course of this film as well, from being the apple of the slaveowner’s eye to begging for death to being flogged for wanting to take a bath. Her performance is also an extremely emotional one – one that will likely bring you to tears more than once.

Often in the film, we are treated to long, still camera shots that linger on Solomon’s face as he stares into the distance, contemplating his current situation. These shots are interesting in that they allow us to see the subtleties in Ejiofor’s acting skills; we can see his emotions develop in real time, like a glimpse into his soul, and it is an unusually compelling technique that works astonishingly well. During these scenes, and during other scenes in which the focus is mostly silence, we are also treated to Hans Zimmer’s minimal but profoundly touching musical score. He utilizes a single theme throughout the film, but each time we hear it, it seems to adapt a new meaning – hope, despair, hopelessness, joy, reunion, thankfulness, tension, and others are all heard in the repetition of this simple theme. Zimmer has been improving with each new score he releases, and it certainly shows here as he deviates from his typically exciting, driving scores to something much more intimate.

This film is difficult to watch in many scenes as we are shown cruelties that no person should have to endure, but it is a sobering and important glimpse into our nation’s past. I mentioned earlier that the purpose of this film is not to entertain, a statement which may draw comparisons to my review of the 2012 Michael Haneke film Amour, which I only awarded 2.5 out of 5 stars because it was such an incredibly depressing film, no matter how artful or masterful it was in execution. Precedent might dictate that I rate this film similarly, but the fact here is that the two films are entirely different in nature. 12 Years a Slave is an often depressing film, yes, but it also has one of the most satisfying endings of any film I’ve seen (you’ll cry if you have a heart), and the historical significance of the story and of the depictions of slavery in the film make this film one that I would entirely recommend…if you can stomach it. Chiwetel Ejiofor is a definite contender (and likely the winner) for the Academy Award for Best Actor, and the film itself and Steve McQueen as director just might walk away with Best Picture/Director.

-Chad

Rating: 5 (out of 5)

MPAA: R – for violence/cruelty, some nudity and brief sexuality

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October 7, 2013

Rush (2013)

By TheCinescopePodcast

Rush

When I first saw the trailer for this film over the summer, I thought it was a strange pairing…Ron Howard and race cars? I mean, this is the same guy who directed Apollo 13, A Beautiful Mind, and The Da Vinci Code – none of which are even remotely related to the idea of racing. I was initially skeptical, but I withheld judgement, and I actually started to become excited for the film the closer it got to release. I’m by no means a fan of racing, but the trailers made it look to be more of a drama than anything, which intrigued me. After all, aren’t the best sports films less about sports and more about characters (i.e. Moneyball, The Sandlot, Rocky, etc.)? Thankfully, the trailers didn’t false advertise – Rush is definitely a drama, and an inspiring one at that.

Rush is based on the true story of the rivalry between Formula One drivers Niki Lauda (Daniel Brühl) and James Hunt (Chris Hemsworth) in the 1970s. Both actors give compelling performances, and the contrast between the two of them and what pushes them to do their best is fantastic. Lauda’s “drive,” if you will, is love for his wife and for the sport itself, whereas Hunt’s drive is the thirst for fame and recognition. Lauda has an abrasive personality, and Hunt is well-liked, but despite these character differences it’s hard to not root for both drivers throughout the film; it’s almost as if you would have been disappointed by the outcome no matter who had won. It’s the conviction that Brühl and Hemsworth bring the roles that make both characters so lovable in their own way. I should also mention that at no point in the film did I think to myself, “wow, Thor looks so weird driving a race car!” So that’s a plus for Hemsworth.

The emotional stakes of the film are also high; the car crash that nearly takes Lauda’s life is painful to watch, and Lauda’s subsequent difficult recovery is heart-wrenching, especially as we watch him try to put on his racing helmet for the first time after the crash. Olivia Wilde briefly appears in the film as Hunt’s wife Suzy Miller, but she literally has two and a half scenes before her character is finished onscreen, which is a shame because it seems like a waste of talent. Alexandra Maria Lara as Lauda’s wife Marlene Knaus is a new face for me, but not an unwelcome one – her sweet disposition and pretty smile provide a nice contrast to Lauda’s considerably less attractive physique, which makes the pair’s relationship all the more endearing.

The racing as seen in the film never bored me or made me uninterested, which is a testament to the actors’ abilities to draw me in and make a subject that I’m not interested in engrossing. The color scheme of both the race cars as they flash by and of the film as a whole is vibrant and exciting, especially when paired with composer Hans Zimmer’s equally exciting score. Zimmer’s music is an incredible asset to the film, combining the action of the racing with the drama of the characters; the main theme is adapted throughout the film to alternately “drive” forward (sorry, couldn’t resist making the joke again…) or to sit back and bring a little more weight to the scene at hand. I think I say it with the release of every new Zimmer score, but he is definitely improving with age.

I certainly have my complaints, however. For starters, the film’s biggest issue is that it often seems like it is trying to be overly profound, as if the screenwriter sat in front of his computer thinking to himself, “hmmm, what can I say in this scene that is really deep and intellectual-sounding?” As a result, many lines seem forced, with the best example I can think of being one heard in many of the film’s trailers, said by Hemsworth’s character: “Don’t go to men who are willing to kill themselves driving in circles looking for normality.” Perhaps it’s just the way that Hemsworth says the line, but it just seems completely unnecessary. My other complaint is with the ending, though I’m quickly changing my mind about it. In my initial opinion, it was too anti-climactic, which is a problem often associated with real-life films, especially after such incredible climaxes as the final race. However, what I love about the ending is that it truly highlights the contrast between the two leads. Lauda has matured quite a bit in his journey, but Hunt is still the same person he always has been, a difference that shows the contrast between the drivers’ motivations. So the ending isn’t awful, and the fact that it ends on a quiet note closes out the dramatic nature of the film nicely.

Anyway, I really liked this movie. It’s absorbing all the way through, and the performances of the two leads, especially Brühl, are wonderful. It’s not a perfect film, but it is an enjoyable one that is also brilliantly inspiring. Even if you’re not a racing fan, Rush is worth checking out.

-Chad

Rating: 4 (out of 5)

MPAA: R – for sexual content, nudity, language, some disturbing images and brief drug use

 

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June 24, 2013

Monsters University (2013) – Randy Newman

By TheCinescopePodcast

monsters university

Randy Newman is back with Pixar for the first time since composing the score for Toy Story 3 back in 2010, which is great since he composed the score for the original film, Monsters, Inc. His score for that film had a jazz-oriented main theme that worked really well for it, and I was hoping for more of the same for Monsters University. While we definitely get “more of the same” here, it’s unfortunately not the “same” that I was hoping for.

The first half of this album or so fails to impress me at all. It sounds like nothing more than another Randy Newman score, which, unfortunately, isn’t much of a compliment. Don’t get me wrong – the sound of Randy Newman’s music very much IS Pixar, but a little variation would have been nice, or at least some more extensive reference to the original film’s score. We certainly do get some reference to the original score in the track “Field Trip,” where we hear the theme from “Enter the Heroes” as well as the chase theme from the first film, which can be heard in the Monsters, Inc. track “Mike’s In Trouble.” Anyways, I digress. I actually do have some good things to say about this score.

Newman did a good job of composing the Monsters University alma mater, which, in its slower instrumental form (as heard in “Goodbyes”), is slightly reminiscent of this theme from John Williams’ score to Indiana Jones and the Last Crusade – in a good way! Both themes have the same warmth to them. Also, despite my complaints regarding the lack of inclusion of themes from the original score, the quotes that were used were used well, bringing a smile to my face as soon as I heard them. Newman also utilizes what sounds like a marching band (specifically a drum line) to really bring the fact that this takes place at a college into focus, and it works wonderfully. As mentioned before, Newman’s music IS Pixar, or, at least, classic Pixar, so watching the film with his score playing in the background was like stepping back into my childhood. Also of note is the track titled “Roar,” credited to Axwell & Sebastian Ingrosso, which is a fun dance tune.

Randy Newman isn’t exactly the most “original” composer out there, as evidenced by the fact that much of this music sounds like his previous work; I can hear bits of Toy Story in “First Day at MU” and bits of A Bug’s Life (my review) in “Rise and Shine,” with several other similar instances popping up here and there. However, all of that is completely, perfectly okay compared to the opening of “Did You Do This?,” when he completely and blatantly rips off his own theme to A Bug’s Life. Make sure you click on both of those links because I want you to be as angry about it as I was when I first heard it…I probably shouldn’t have been driving at the time. Not even Hans Zimmer has been that blatant about borrowing from his previous work! …it frustrates me.

Maybe I’m being overly critical for something like this. Like I said, Newman’s score does a great job of bringing familiarity to the world presented in Monsters University, and despite that one HUGE problem and the score’s general tendency to be pretty forgettable, it’s a decent score overall. I have my qualms with it, but it serves its purpose just fine for the average listener and in the context of the film.

Rating: 3 (out of 5)

1. “Main Title” 0:52
2. “Young Michael” 3:58
3. “First Day at MU” 4:32
4. “Dean Hardscrabble” 3:19
5. “Sulley” 0:48
6. “Scare Pig” 2:00
7. “Wasted Potential” 1:16
8. “Oozma Kappa” 3:16
9. “Stinging Glow Urchin” 2:34
10. “Field Trip” 3:57
11. “Rise and Shine” 3:00
12. “The Library” 3:44
13. “Roar” (performed by Axwell & Sebastian Ingrosso) 2:55
14. “The Scare Games” 6:00
15. “Did You Do This?” 2:00
16. “Human World” 2:07
17. “The Big Scare” 3:02
18. “Goodbyes” 3:11
19. “Mike and Sulley” 1:12
20. “Monsters University” 1:34

Total Length: app. 56 min.

iTunes Album Link

-Chad

P.S. – Read my review of this film here!

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June 24, 2013

Man of Steel (2013) – Hans Zimmer

By TheCinescopePodcast

man-of-steel

I am often critical of Hans Zimmer’s work due to the tendency of his music to often sound the same. I was especially skeptical going into his score for director Zack Snyder’s Superman reboot, Man of Steel; not only did he face the challenge of coming up with original material that didn’t sound too much like his scores to Christopher Nolan’s Batman film trilogy, but he was also following in the footsteps of arguably the best film composer of the twentieth century, John Williams, who composed the now-iconic theme to Superman (1978). John Williams is my all-time favorite composer, so Zimmer was up for quite the challenge indeed: could he impress me?

This score contains an outstanding amount of variety. The first track, “Look to the Stars,” is appropriately ethereal as it plays during a scene taking place on Krypton. It contains hints to the main theme, which doesn’t appear until later, and it ends with a driving string melody that builds anticipation into the upcoming fight scene. Other tracks on the album have this sort of supernatural quality as well, including “Sent Here for a Reason” and “Krypton’s Last,” the latter of which also contains an emotional lament played on what seems to be a viola. This music serves as Clark’s tie to his home world.

Emotion is expressed in all sorts of ways in this music; we hear the aforementioned lamentations for a lost planet (which is later heard in “I Have So Many Questions” as Clark interacts with the “ghost” of his Kryptonian father), we hear the anger felt by Zod through a  string ostinato overlayed with heavy brass and aggressive percussion (“You Die or I Do,” “I Will Find Him,” “General Zod”), and we hear Clark Kent’s curiosity for answers regarding his past in the form of a juxtaposition between the ethereal music heard on Krypton with an early piano iteration of what will become the main theme for his Superman persona. It is this conglomeration of emotional themes of all shapes and sizes that makes this score so effective as both a companion to the film and as an affective stand-alone work, helping you to envision what the characters are experiencing without the aid of a movie screen.

Regarding the main theme, Zimmer has somehow managed to capture everything that I thought and felt about Superman as a character and as an American icon in a simple piece of music. On the soundtrack, this theme is first heard in the track “Sent Here for a Reason,” but it appears more entirely on the track “This is Clark Kent.” It starts out as a simple theme on the piano, but it eventually falls into what can best be described as a “groove,” joined by percussion and gaining an extra layer of fullness as the character becomes more certain in who he is meant to be. It gains even another layer as Superman becomes a fully-realized hero, consisting of strings playing sixteenth notes, brass fanfare, and screaming electric guitar, bringing both the theme and the character full-circle in an incredibly satisfying way.

No superhero film score would be complete without its action music, of which there is also plenty to be heard here. Fueled by a team of twelve of the world’s best percussionists, the action music here is aggressive, impactive, and powerful. It always drives the movement on screen forward in a way that is more supportive than obtrusive, but that’s not to say that Zimmer doesn’t have his moments of glory while you watch the film; tracks like “Terraforming” and “This is Madness!” pack as literal a punch as Superman does in the film (in a good way), and “Flight” features a different type of action music that is driven as equally by the resonant French horn choir with voice accompaniment as it is by the percussionists.

I would be remiss if I didn’t mention the beast of a track titled “Man of Steel (Hans’ Original Sketchbook),” which essentially serves as a suite for the entire score. Sitting at nearly half an hour long in length, it is jam-packed with just about every bit of music that you hear in the other tracks, but here they flow together into a giant, coherent work of art. Dare I say it? This track is a masterpiece – a true testament to Hans Zimmer’s complete capabilities as a composer.

So, did Zimmer impress me here? The answer is a resounding “YES!!!!!!” This score is ultimately my favorite score that he has ever composed, and it even surpasses my love for Williams’ original Superman theme, which is quite a feat in itself. Though you likely won’t be walking away from the theater with the theme stuck in your head as might have been the case with Williams’ theme, Zimmer has managed to capture all of the hope, nobility, and power of Superman in his score to Man of Steel; Williams’ theme accompanies Superman well, but Zimmer’s theme IS Superman, and I look forward to his work on the inevitable sequel. Bravo, Mr. Zimmer. Keep up the outstanding work.

Rating: 5 (out of 5)

Note: I purchased the Deluxe Edition of this album on iTunes, which is what the following track list is from. I highly recommend the Deluxe Edition, but the link to the Standard Edition is provided below as well.

Disc 1 – Flight

1. “Look to the Stars” 2:58
2. “Oil Rig” 1:45
3. “Sent Here for a Reason” 3:46
4. “DNA” 3:34
5. “Goodbye My Son” 2:01
6. “If You Love These People” 3:22
7. “Krypton’s Last” 1:58
8. “Terraforming” 9:49
9. “Tornado” 2:53
10. “You Die or I Do” 3:13
11. “Launch” 2:36
12. “Ignition” 1:19
13. “I Will Find Him” 2:57
14. “This Is Clark Kent” 3:47
15. “I Have So Many Questions” 3:47
16. “Flight” 4:18

Disc 2 – Experiments from the Fortress of Solitude
No. Title Music Length
1. “What Are You Going to Do When You Are Not Saving the World?” Hans Zimmer 5:27
2. “Man of Steel” (Hans’ Original Sketchbook) Zimmer 28:16
3. “Are You Listening, Clark?” Zimmer 2:48
4. “General Zod” Zimmer, Junkie XL 7:21
5. “You Led Us Here” Zimmer 2:59
6. “This Is Madness!” Zimmer, Junkie XL 3:48
7. “Earth” Zimmer 6:11
8. “Arcade” Zimmer, Junkie XL 7:25

Total Length: app. 119 min.

iTunes Album Links – Standard Edition, Deluxe Edition

-Chad

P.S. – Read my review of this film here!

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July 20, 2012

The Dark Knight Rises (2012)

By TheCinescopePodcast

Here’s a brief spoiler-free review of the final film of the Dark Knight trilogy, The Dark Knight Rises.

Taken as a whole, this film was fantastic on nearly every level, but that doesn’t mean that it didn’t have any faults. I had problems with understanding certain characters, from Bane (especially) to Miranda Tate to Jim Gordon to Bruce himself. A couple of the plot points in the first half confused me a bit, but the second half was so incredible that it made these and any other minor faults seem like nothing. Initially, I didn’t agree with some bits of the ending, and, because of that, I decided that it was slightly behind The Dark Knight in terms of quality, but I’ve been mulling things over since the movie ended – it’s starting to grow on me, so the final film of the trilogy may end up being my favorite. Old faces and new faces alike do an awesome job onscreen, with Joseph Gordon-Levitt as John Blake and Tom Hardy as Bane standing out as particularly great. Overall, it’s an outstanding film; if you enjoyed the first two, I wouldn’t be at all surprised if you enjoy this one as well.

Now, onto the review FILLED with spoilers, so, if you haven’t seen the film yet, DON’T READ ON. (skip to end for spoiler-free conclusion)

There are two key bits of speculation that have been circulating the Internet for quite some time now that proved to be correct: 1) Marion Cotillard as Talia al Ghul and 2) Joseph Gordon-Levitt as the man who will take over for Batman. Good job, Internet people! Also, Batman did technically “die”, so there’s a third speculation come true.

Bane proved to be one of my favorite film villains of all time. Sure, I had trouble understanding him at times, but Hardy’s presence onscreen was bone-chilling and terrifying. I’m not going to sit here and waste time comparing him to Ledger’s Joker, but both had a quality about them that made it difficult to look away – no matter how badly you wanted to at times. The most fascinating part about this character is that he is the first villain who could physically best Batman…and he does in an awful way. Though we couldn’t see most of his face, Hardy did a fantastic job with communicating through his body language exactly who Bane was and what he was capable of. I wish that there had been more of a defeat of Bane by Batman, but I suppose that the defeat we witnessed was the only one that mattered because the title of “head villain” was passed on to Miranda Ta- oh, excuse me – Talia al Ghul.

Hathaway as Catwoman was very good as well; in fact, I managed to watch the film thinking, “hey look! It’s Catwoman!” instead of thinking, “hey look! It’s Anne Hathaway!”, which is a plus for someone like her who hasn’t done a film like this before. She looked the part and did a fine job with the character.

I was very impressed with Joseph Gordon-Levitt and his character; he came out of nowhere, but he certainly exhibited the detective abilities and physical skill needed to be a future Batman…more on that later. The leadership he showed in gathering the forces in Gotham to fight and bringing Batman back to the city was outstanding, and I really felt myself rooting for the character…and not just because he was on Batman’s side.

Since I’ve read both of Michael Caine’s autobiographies now, watching him onscreen in The Dark Knight Rises was a particular treat, especially because we got to see him display a wide range of acting ability in this film than we did in the previous two films. When he cried at the end of the film, I nearly cried; Caine is a wonderful actor with a career spanning decades, and seeing him deliver such a powerful performance in this film at his age (he’s 79 years old) was a great thing to witness.

Of course, I can’t neglect to mention Morgan Freeman and Gary Oldman. Not much to say here, but they both did a fantastic job with their roles, especially Oldman.

Christian Bale’s as Batman was admirable in the sense that we see him truly fight for the first time – not physically, necessarily, but for his life, something that we hadn’t seen from Batman before this film. He’s a man who has been through quite a lot both physically and emotionally, and he has suffered in just about every way that a man can suffer. Bale does a great job with truly showing Batman’s humanity in this film…for the first time, the person who wants him dead knows his true identity, so there is no way for him to hide or use theatricality to his advantage. It’s man vs. man, and there’s no darkness to hide in anymore. Bale displays Bruce’s resolve to give the city all that he has and makes not only Batman a hero, but Bruce Wayne a hero as well.

Aside from a slightly confusing first half (which, thanks to Wikipedia’s Plot section of the film’s article, isn’t all that confusing anymore) and the occasional problems with the voices, my only issues regarded the ending. I knew that I didn’t want Bruce to die, so that’s nice, but I wanted him to return to Gotham and have an emotional reunion with Alfred. At least, that’s what I wanted at first. Walking away, however, and taking some time to think about it, I was actually pretty satisfied with how they ended it. Batman is no longer a villain in Gotham but a hero instead, and Bruce Wayne has reached that point in his life when he no longer needs Batman…he is finally at peace, living out his life the way Alfred wanted him to. That being said, I still wish that we had seen more than just an acknowledgement between the two.

I also don’t know how I feel about the whole “(Robin) John Blake is the new Batman” part of the ending; if it was just meant as a teaser that will be left alone, cool. I like it. BUT I really don’t want to start a new franchise with Gordon-Levitt as the focus – Chris Nolan has made it pretty clear that he won’t be doing any more Batman after this film, and I don’t want a sequel trilogy or whatever to be made and it pale in comparison to what Nolan has done with Bale in these three movies. Who knows…maybe it could be good, but I don’t really want to take that chance. Of course, the decision isn’t up to me, so we’ll just have to see where Warner Bros. takes it from here…if anywhere.

***SPOILERS OVER***

I’m having trouble with deciding which film I like more: The Dark Knight or The Dark Knight Rises. On one hand, I don’t want to like this film more just because it’s the last film of the series. On the other hand, I don’t want to like The Dark Knight more just because of Heath Ledger’s Joker; I’m trying to find a balance between the two so that I can make a decision excluding those factors. Though The Dark Knight Rises didn’t end the way I wanted it to when I walked into the theater, I walked out of the theater thinking that maybe, just maybe, Nolan’s ending was better than the one that I had fantasized for the film on my own. So, for now at least, I’m going to call this a tie, but it’s entirely possible – and highly likely – that the finale of the trilogy will come out on top.

As fans of Batman, we all have Christopher Nolan to thank for bringing this incredible character to the big screen in such a big way and for dedicating himself fully to finishing what he started. Batman Begins was groundbreaking, The Dark Knight was breathtaking, and now, with The Dark Knight Rises, Nolan has brought a third, final film that ends the trilogy in a hugely satisfying way.

-Chad

Rating: 4.5 (out of 5)

MPAA: PG-13 – for intense sequences of violence, intense sequences of action, language and some sensuality

P.S. – Read my review of this film’s score, composed by Hans Zimmer, here!

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July 19, 2012

The Dark Knight Rises (2012) – Hans Zimmer

By TheCinescopePodcast

I don’t have much time to type this out before I go to the theater for the Batman trilogy IMAX screening, so I won’t be going track by track.

Though some of this music is taken from the previous two films’ scores, Zimmer introduces some pretty cool new themes that add a lot to the character of the album. “Gotham’s Reckoning” starts with a rhythm of two duples and two triples, which repeats through the rest of the track. This rhythm serves as Bane’s theme, and it is the musical version of the chant heard in the various trailers for the film. Sure enough, the chant comes in about halfway through the track, adding a level of anxiousness to it all; presumably, this is being chanted by Bane’s army, which, along with the random bursts of brass and aggressive percussion in the background, makes this track all the more terrifying.

Another highlight is the following track, “Mind If I Cut In?”. It opens with some eerie strings which moves into a lengthy piano solo. It brings a bit of a chill down my spine. A later track, “Despair” is really cool because it contains the best instance of the Batman theme (ascending minor third) that I’ve heard out of all three soundtracks; it’s just so pure and heroic-sounding, despite what the title may imply.

Speaking of titles implying things, “Necessary Evil” leaves me stumped – who is the title referring to? Is it Bane’s way of justifying his crimes? Or is it Batman realizing that the only way to stop Bane is to break his one rule, i.e. kill him? I sort of doubt that it’s the latter because Batman “truly [is] incorruptible”, but the track provides the emotional sound that could accompany a weighty decision like that.

There are lots of great moments to point out and talk about, but I could go on and on and on. It boils down to this: this is Hans Zimmer’s best Batman score yet. It features a pleasant mix of old and new, with new bits of music that give a glimpse into the kinds of difficult decisions and situations that Batman must endure in the film, and it concludes the trilogy in a truly impressive way.

Since Newton Howard didn’t return to collaborate on this score, Zimmer tackled it all on his own. I was worried that it would be too “Zimmer-y” for me, but he did an overall fantastic job. In fact, I’d say that the score for The Dark Knight Rises is better musically than its predecessor. As for how it enhances the movie…well, you’ll have to wait for my movie review tomorrow!

Rating: 4.5 (out of 5)

1. “A Storm is Coming” 0:37
2. “On Thin Ice” 2:55
3. “Gotham’s Reckoning” 4:08
4. “Mind if I Cut in?” 3:27
5. “Underground Army” 3:12
6. “Born in Darkness” 1:57
7. “The Fire Rises” 5:33
8. “Nothing Out There” 2:51
9. “Despair” 3:14
10. “Fear Will Find You” 3:08
11. “Why Do We Fall?” 2:03
12. “Death By Exile” 0:23
13. “Imagine the Fire” 7:25
14. “Necessary Evil” 3:16
15. “Rise” 7:11

16. “Bombers Over Ibiza (Junkie XL Remix)”  5:50

17. “The Shadows Betray You”  5:21

18. “The End”  6:13

Total Length: app. 69 min.

iTunes Album Link

-Chad

P.S. – Read my review of the film here!

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July 18, 2012

The Dark Knight (2008) – Hans Zimmer & James Newton Howard

By TheCinescopePodcast

“Why So Serious?”

Opening with eerie sirens, this track doesn’t have a lot of organization or anything like that to it – that is to say, it’s chaotic, which defines the Joker. Played during the opening of the film when we’re first introduced to the character, the various sounds that range from aggressive to contemplative to insane give us our first impressions of who the Joker is and what he is capable of. Even the percussion beat that we hear throughout gives you the feeling of chaos.

“I’m Not a Hero”

Featuring a low string melody that is heard throughout the film, the coolest part about this track is that you can hear the Batman theme (the ascending minor third that I mentioned in yesterday’s Batman Begins post) played lightly in the background. This Batman theme repeats over and over again as the track goes on. Toward the end, there are a couple of random bouts of action theme with echo-y sounds and light rhythmic percussion underneath. The last 30 seconds or so are more heroic sounding, which fits in with this scene in the film; I believe this track is played as Batman makes his visit to Hong Kong and…well, I won’t spoil it if you haven’t seen it.

“Harvey Two-Face”

This track contains the theme for both Harvey Dent and Two-Face, if you couldn’t guess that from the title. Played in the strings, this melody is weighed down with responsibility, and the occasional horn solo adds a bit of a heroic tinge to it. Percussion is introduced about 2 minutes in, and everything becomes a bit more driven with purpose and emotion, possibly indicating Harvey’s transition from noble district attorney to corrupted government official. The last 3 minutes or so drops into a slow piano theme, followed by the string melody heard at the start which gets more and more intense as the track draws to a close. As a whole, this track gives us a glimpse into the conflict within Dent.

“Aggressive Expansion”

The start of this track is just as aggressive as the title implies, but then it slows to some atmospheric stuff that probably accompanies a dialogue-heavy scene or something like that. The aggression returns at the end of the track, bringing us a light version of the heavy action theme heard later in the score.

“Always a Catch”

Opening with the sirens used throughout the film that indicate that something SERIOUS is about to happen, it soon moves into a quiet bit of music that fades to the end. Perhaps a lead-in to the next track –

“Blood On My Hands”

This theme is played on the lower strings at first, and it has a heavy sort of emotion to it. Taken from Batman’s line in the film about how he’s already got enough “blood on [his] hands”, this track gives a theme to Batman’s worry that he’s not doing the right thing.

“A Little Push”

Starting with a simple enough bit of ambient music, about halfway through it becomes corrupted and twisted…much like the character of Harvey Dent.

“Like a Dog Chasing Cars”

Featuring some more of the Batman theme over a heavily rhythmic background, the main theme in this track is introduced by the French horns before being joined by the strings. It gets more and more action-y as it goes on, and we hear some of the cool brass parts at about 2:10 or so, which goes on until the last minute or so. In this last minute of the track, we hear what I sort of consider to be an anti-Batman theme; there is a sustained note that, instead of ascending a minor third, descends a whole step.

“I Am the Batman”

Mostly atmospheric, this track is played during the scene when Alfred tells the story of the jewel thief in Burma…not much to talk about here. A nice ambient track, though, and it ends with something similar to the siren at the start of “Always a Catch”…perhaps communicating the moral of Alfred’s story – “some men just want to watch the world burn”.

“And I Thought My Jokes Were Bad”

This track features the action-y theme, and it also contains something interesting: there’s a sustained note that you would assume to be the Batman theme, but it never goes anywhere. You get the sustained note, but that’s it.

“Agent of Chaos”

Most of the stuff heard here is stuff that we’ve already been introduced to, but it’s all mixed together to start with a brooding, anticipating action theme that moves into the sirens, meaning WATCH OUT! And, sure enough, we go into MORE action-y stuff that actually contains some new themes, including high string quarter notes over a lower string melody – a very cool effect. The ending is depressing though, as it features another slow piano solo and sad strings underneath. The contrast between this and what was heard earlier really makes this ending feel pretty heartbreaking.

“Introduce a Little Anarchy”

This is the coolest track on the album. It features the full-fledged action theme with an awesome underlying cello/bass counter-melody kind of thing, along with several interjections by the Batman. This track embodies all that is awesome about Batman – well, the fighting side of him, at least, and it’s non-stop action from start to finish.

“Watch the World Burn”

This track can be heard during the scene when Harvey has kidnapped Gordon’s family. You can hear the emotional tension between Dent, Gordon, and Batman as they try to negotiate the safety of the children and beg Harvey to blame the men most responsible for Rachel’s death. It ends with emotional-sounding strings that are a bit chaotic, again representing what Harvey has become.

“A Dark Knight”

This track is really long (more than 16 minutes) and features lots of different stuff…so I’ll let you listen to it on your own!

OVERALL

Hans Zimmer and James Newton Howard have come together to create something even better than their score to Batman Begins. Though I would only give the music itself about a 9, the way it is used in the film is extremely effective and pushes it over the top. This album, like its predecessor, does a fantastic job with capturing both the emotional and action-y sides of Batman. Also, make sure to check out the bonus digital disc available on iTunes, containing almost an hour of new music!

Rating: 4.5 (out of 5)

  1. “Why So Serious?”          (9:14)
  2. “I’m Not a Hero”          (6:34)
  3. “Harvey Two-Face”          (6:16)
  4. “Aggressive Expansion”          (4:35)
  5. “Always a Catch”          (1:39)
  6. “Blood On My Hands”          (2:16)
  7. “A Little Push”          (2:42)
  8. “Like a Dog Chasing Cars”          (5:03)
  9. “I Am the Batman”          (1:59)
  10. “And I Thought My Jokes Were Bad”          (2:28)
  11. “Agent of Chaos”          (6:55)
  12. “Introduce a Little Anarchy”          (3:42)
  13. “Watch the World Burn”          (3:47)
  14. “A Dark Knight”          (16:15)

Total Length: app. 74 min.

iTunes Album Link

-Chad

I used this Wikipedia page to figure out when each of these tracks is played in the film.

P.S. – Read my review of the film here!

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July 17, 2012

Batman Begins (2005) – Hans Zimmer & James Newton Howard

By TheCinescopePodcast

And so it begins…

For the Nolan Batman trilogy’s film scores, I want to do my best to go track by track. I may have more to say about one track than others, but I’ll try to keep it all as balanced as I can. I’m typing these as I listen through (after listening through a couple other times today).

“Vespertilio”

The opening track of Batman Begins is ominous and eerie, making you almost feel uncomfortable due to the heavy bass undertones and seeming lack of direction. The theme attributed to the character of Batman (an ascending minor third) is first hinted at in this track, though it’s more of an echo or passing Doppler-esque sound at first before building up to a more confident sound. The underlying string part is intense and brings forth a sense of anticipation that is fitting of the opening of the film; is this Batman? When will he become Batman? HOW will he become Batman? These are all questions that come to mind when I listen to this track.

“Eptesicus”

This track is filled with what I’d assume is the work of Mr. Newton Howard, due to the lyrical, haunting string melody. In fact, strings are clearly the focus in this track, with a few interjecting piano solos. It is a very emotional, remorseful bit of music, and I wouldn’t be surprised if it lined up with the flashback to Bruce’s parents’ deaths – though this is hard to ascertain due to the lack of proper track titles. It hints at one of the main bits of the action theme that we hear later in the score, which is interesting because it sort of shows how Bruce must mature into the persona of Batman before tackling the responsibilities – and consequences – head on.

“Myotis”

Opening with a strong melody from the low basses, the first two minutes of this track are largely atmospheric before we jump fully into the main action theme – our first glimpse into what Bruce Wayne has become. The rhythm of the main action theme is what contains the appeal, I think; with stresses on every other beat before a strong “3 4 1”, it’s simple and easy to latch on to. The track closes with a return to strong emotion, with a hint of despair.

“Barbastella”

A hauntingly beautiful vocal solo opens this track before being joined by a string orchestra that continues the theme. This dominates the first half before entering into what I could best describe as an anticipation; it’s nothing super action-y until the last 45 seconds or so. During this ending, we hear the minor third Batman theme in all its glory for the very first time, and, my, it is a wonderful moment. HE IS BATMAN.

“Artibeus”

I think that this track is intended to serve as a sort of “Scarecrow Theme”, or at least one of his attacks, with lots of agitated strings, frightening electronics, and what sounded like it could possibly have been whispers. The drums sound tribal and primeval, and the whole track kind of terrifies me…I swear I can hear people moving around in the shadows. It’s cool to see how the composers of a film can manipulate the people who watch the film with tracks like this that make them quake in their seats and – who knows? – maybe pee their pants a bit.

“Tadarida”

This track features more of the creepy whispers, and I think I even heard a few evil laughs, but I may be hearing things. More terrifying things. Lots of scary sounds. SCARECROW. And now, about 3 minutes in, we’re back to a non-scary string theme that sounds desperate. More vocals. This stuff gets heavy; it’s almost like you can feel the implications of Wayne assuming the role of Batman weighing on his shoulders; it’s a sobering feeling.

“Macrotus”

With this track, we return to the normal sort of emotional music that we heard earlier. A little past a minute into it, we’re introduced to a beautiful string melody that grows louder and louder until the brass joins in; it becomes this huge moment where we’re just flooded with emotion…and then it’s gone. Bass undertones take over, making the atmosphere of it all more brooding. We hear more hints to the Scarecrow’s music before we return to themes previously introduced in “Eptesicus” and “Barbastella”, perhaps implying that the ghosts of Bruce’s past have returned to haunt him. Appropriate since the Scarecrow’s toxin brings out your worst fears realized.

“Antrozous”

Uh-oh…another Scarecrow track. But Batman is here to fight back in a big way this time, as made apparent by the return of the action theme heard earlier in the score, but this time it is more intense, and we heard more of the Batman theme. It’s a really cool moment to hear Batman’s themes take over the intimidating Scarecrow themes. What makes this track so epic, aside from the simple rhythm that I referred to earlier, is the underlying rhythm section heard in the percussion. It drives the momentum of the action farther and farther forward.

“Nycteris”

Electronics play a large part in this track, from everything from the underlying rhythm to the first bit of the theme, though they’ve also been used frequently throughout the score. This track sits still, but I wouldn’t say it stagnates; it’s just a lapse in action. It might be Batman preparing things, like equipment, but I’m not sure. It features a lot of anticipation, much like “Barbastella”. The last 30 seconds get really emotional again, leading me to believe that it might be the theme for the relationship between Bruce and Rachel.

“Molossus”

ACTION ACTION ACTION. That’s the summary of this track. This is where Zimmer excels. We hear the main action theme that’s been thrown in a couple of times previously, but it’s more massive than it has been. The scale of it is huge, as is the scale of the crime that Batman is trying to stop; everything is aggressive, the Batman theme is thrown in several times, and it’s a nonstop ride from start to finish.

“Corynorhinus”

Pure emotion from start to finish, this track is the conclusion of the film, featuring the interaction between Bruce and Rachel at the ruins of Wayne Manor. Much of this is stuff we’ve already heard, but it’s all the more potent due to the fact that, at this point, Rachel knows Bruce’s secret and tells him that she can’t be with him until he no longer needs Batman. It’s a heartbreaking moment, and you can hear it in the music. The last minute and a half or so ends with the return of the Batman theme, which is really cool, and it also includes the melodic bit of the action theme that we heard at the very beginning.

“Lasiurus”

I sort of cheated with this one by looking it up (I’ve included the link at the bottom of this post): this track is played when Ra’s al Ghul teaches Bruce about criminals and when he looks over Gotham after taking out Falcone. Though not unimpressive, much of this track is just basic string stuff, featuring a very pretty melody filled with consequence. It ends literally exactly the way it started in the first track, which is pretty awesome, if I may say so.

OVERALL

This album succeeds because it focuses more on the human interactions of Batman rather than on the kicking-people’s-butts side of him, which could have easily been done with someone like Zimmer on board. However, everything is done very smartly…and it doesn’t hurt that there’s an awesome action theme to represent the kicking-people’s-butts side of Batman as well. This Zimmer/Newton Howard collaboration has its flaws, but the two of them move in the same new direction that Nolan does, which is refreshing and makes this a soundtrack worth purchasing. My biggest complaint is the lack of track titles that identify the music with a scene in the film, though I’m not cutting down the rating due to this. If you’re just looking for one track, though, go for “Molossus”.

Rating: 4 (out of 5)

  1. “Vespertilio”          (2:52)
  2. “Eptesicus”          (4:20)
  3. “Myotis”          (5:46)
  4. “Barbastella”          (4:45)
  5. “Artibeus”          (4:20)
  6. “Tadarida”          (5:06)
  7. “Macrotus”          (7:36)
  8. “Antrozous”          (3:59)
  9. “Nycteris”          (4:26)
  10. “Molossus”          (4:49)
  11. “Corynorhinus”          (5:04)
  12. “Lasiurus”          (7:27)

Total Length: app. 61 min.

iTunes Album Link

-Chad

If you’re interested, this link at Soundtrack.net tells you where each of these tracks can be heard in the film!

P.S. – Read my review of the film here!

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July 16, 2012

Pirates of the Caribbean: On Stranger Tides (2011) – Hans Zimmer

By TheCinescopePodcast

This was one of the few soundtracks that I didn’t buy on my own, waiting instead to receive it as a gift. Why? Because, after Zimmer’s score to At World’s End, I didn’t think that it would be good. Christmas rolled around, I got it, and I listened to it…and guess what? I was pleasantly surprised.

The best part of this album is the addition of Mexican guitar duo Rodrigo y Gabriela. Their flamenco guitars add a wonderful Spanish influence to the whole album, giving a new spin on some classic themes. “Angelica” is a blend of the duo with some Zimmer orchestration; it’s infectious and fun and manages to be one of the more original themes heard in Pirates of the Caribbean since Dead Man’s Chest. “The Pirate That Should Not Be” features the duo alone, and it’s fantastic, with both conventional and non-conventional guitar techniques adding uniquely to the mix.

Even Zimmer brings some new stuff to the table. “Blackbeard” contains some familiar themes but is on the whole pretty original, with lots of dark, brooding stuff and an almost march-like ending reminiscent of war, and even “Palm Tree Escape” is worthy of being called one of the better tracks of the franchise.

Unfortunately, not everything on this album is new and original. “Mermaids”, which I first thought was really cool – also, it features choral work done especially for the film by composer Eric Whitacre – before realizing that I had heard it before…in the FIRST Pirates of the Caribbean movie. Compare “Mermaids” to this brief moment in Klaus Badelt’s “Fog Bound”. Yes, it’s brief, and, it may even be intentional, but still. Aw, heck, I’ll go ahead and say it’s intentional. Zimmer is smart.

So, yes, there are some moments when you’ll be thinking “this is just the same ol’, same ol’ Pirates of the Caribbean soundtrack!”, but it’s worth it solely for the Rodrigo y Gabriela features and to hear some of the classic themes done on flamenco guitar. Also, seven of the eighteen tracks are remixes, and guess what? Those were a pleasant surprise too…I enjoy most of them. Overall, this is a fairly good film score with lots to like and less to hate. A good purchase.

Rating: 4 (out of 5)

1. “Guilty of Being Innocent of Being Jack Sparrow”  1:42
2. “Angelica” (Feat. Rodrigo y Gabriela)  4:17
3. “Mutiny”  2:48
4. “The Pirate That Should Not Be” (by Rodrigo y Gabriela)  3:55
5. “Mermaids”  8:05
6. “South of Heaven’s Chanting Mermaids” (feat. Rodrigo y Gabriela)  5:48
7. “Palm Tree Escape” (by Rodrigo y Gabriela)  3:06
8. “Blackbeard”  5:05
9. “Angry and Dead Again” (by Rodrigo y Gabriela)  5:33
10. “On Stranger Tides”  2:44
11. “End Credits”  1:59
12. “Guilty of Being Innocent of Being Jack Sparrow” (Remixed by DJ Earworm)  2:45
13. “Angelica (Grant Us Peace Remix)” (Remixed by Ki: Theory)  3:08
14. “The Pirate That Should Not Be” (Remixed by Photek)  6:26
15. “Blackbeard” (Remixed by Super Mash Bros & Thieves)  5:26
16. “South of Heaven’s Chanting Mermaids” (Remixed by Paper Diamond)  3:32
17. “Palm Tree Escape” (Remixed by Adam Freeland)  5:28
18. “Angry and Dead Again” (Remixed by Static Revenger)  5:49

Total Length: app. 78 min.

iTunes Album Link

-Chad

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