Tag Archives: Michael Giacchino

Star Trek Beyond (2016)

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JJ Abrams’ 2009 Star Trek film was my first introduction to the franchise, and, looking back, I’m still quite fond of that movie. While I initially quite enjoyed his 2013 followup, Star Trek Into Darkness (my review), here we are three years later and I’ve still only seen it the one time I saw it in the theater despite owning it on Blu-Ray…it just isn’t a movie that really stuck with me or demanded rewatches. That being said, I was wary of director Justin Lin – most known for his ventures in the Fast and Furious franchise – taking over for the third installment, but…wow. What a great movie!

Taking place three years after the events of Star Trek Into DarknessStar Trek Beyond places the beloved crew of the USS Enterprise in deep space, exploring new worlds and seeking allies for the Federation. Shortly after arriving at Starbase Yorktown, the crew, still led by Captain James T. Kirk (Chris Pine), is sent out on a rescue mission into an uncharted nebula, where they are attacked by a creature named Krall and his massive crew. With the Enterprise destroyed, the crew separated, and hope diminishing, Kirk must find a way to rescue his crew and to save the universe at the same time.

It should be noted that all three of the new-Trek films so far noticeably borrow from what is widely regarded as the best Star Trek film, The Wrath of Khan (my review): Star Trek utilizes the Kobayashi Maru test that was first introduced in TWOKStar Trek Into Darkness uses its main villain and directly imitates entire scenes, and Star Trek Beyond explores the same themes of mortality and sacrifice. I would argue that Beyond does this with the most success because it takes familiar themes and applies them to the different situations that the characters find themselves in rather than lifting direct story or scene elements, making the comparisons more subtle and therefore more effective. I can also give this movie the same compliment that I gave TWOK: it feels like an extended episode of the TV series in all the best ways. It really is masterfully done.

The characters this time around are established and don’t require the “set up” that they received in the first two films; they’re now largely the characters we know and love from the original television show and movie series. Chris Pine’s Kirk is a leader who is confident in his abilities and his responsibilities as a captain, but he’s also at a point in his life where he doesn’t know what’s next for him. It’s not that he has insecurities but rather that he is struggling to find the meaning of their continued exploration in uncharted space. We’re able to see his growth over the course of the film as he realizes that his crew is his family and that he would be out of place if he was placed anywhere aside from the bridge of a starship (the same conclusion William Shatner’s Kirk reaches in The Wrath of Khan through different circumstances). The introduction of his famous “captain’s log” in the new-Trek franchise is also an excellent touch.

As captain, Kirk continues to be the main character, but the supporting characters are definitely not tossed to the side here; in fact, we get many great moments with each of the classic members of the crew. Spock (Zachary Quinto) and Bones (Karl Urban), two characters with a history of a somewhat antagonistic relationship, are paired together for much of the film, resulting in some hilarious banter but also some tender moments of expressed friendship and overcoming obstacles. Scotty (Simon Pegg), Sulu (John Cho), and Uhura (Zoë Saldana) all get their moments in the limelight as well. Thankfully, Anton Yelchin as Chekov is given much screentime as he’s paired with Kirk; his work here only continues to show how truly devastating it is that he has left us so soon. Lastly, Sofia Boutella as the newcomer Jaylah was fantastic as a strong female character who was able to hold her own, and, in fact, much of the film would not have been possible without her character’s actions.

I think this movie’s biggest issue is its villain. Idris Elba is an incredible actor, and he did an admirable job here as Krall, but an actor can only do so much when hidden behind that much CGI. His character’s motivations are revealed towards the end of the film, and they’re understandable to a certain extent, but I think that as the antagonist his main purpose was definitely to provide a scenario for our heroes to grow and interact with each other in meaningful ways. The visual effects behind Krall and his fleet of bee-like ships was very well done and made for exciting action sequences. While I’m mentioning technical effects in the movie, I’d be remiss if I didn’t bring up returning composer Michael Giacchino’s wonderful score; his universe building is fantastic and continues to offer some of the best sci-fi music out there. And, of course, I have to say how awesome the pop music used is, in one scene in particular…I won’t spoil it here, and I certainly wouldn’t think that a scene like that would ever appeal to me, but it’s possibly the most fun scene in the whole movie.

I’ve said a few times recently, like in my written review for Blade Runner, that what sci-fi as a genre does best is ask questions and present new ideas, and Star Trek Beyond does that extremely well. It asks us to consider mortality and our friendships with others, and it does so within a fantastical setting that keeps us engrossed without distracting us from the point. When I learned that Justin Lin was directing this movie, I was concerned – Fast and Furious lies far outside my usual range of interest – but I could not have been proven more wrong; he accomplishes so much here with an amazing script by Simon Pegg and Doug Jung. Star Trek Beyond is without a doubt my favorite of the new Star Trek films, and it makes me even more excited for future films in the franchise.

-Chad

RECOMMEND

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

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John Carter (2012) – Michael Giacchino

Note: This review is a short version of a more detailed look conducted in a post on my companion site, ChadTalksMovies, titled “My Adventures on Barsoom.” Check it out!
John Carter

I’ve made it clear in the past that Michael Giacchino is one of my favorite composers, and I might have even called him the best composer out there today; his ability to so effortlessly switch between genres is impressive, with him composing excellent scores for such contrasting films as Star Trek (my review), Up, and Mission Impossible: Ghost Protocol (my review). My recent obsession with all things John Carter/Barsoom-related has introduced me to Giacchino’s score for the 2012 Disney film for the first time. As expected, it’s wonderful.

The soundtrack opens with Giacchino’s beautiful, sweeping theme representing the world of Barsoom; after listening to it for the first time, I walked away whistling it. In the theme, he has managed to capture the majesty and splendor of the planet, both as described by Edgar Rice Burroughs in the original A Princess of Mars novel (my review) and as shown in the film adaptation, but it also embodies both the adventure at hand and the romance between Carter and Dejah Thoris. This quickly fades into something more ethereal and otherworldly, led by a solo voice and eerie strings, serving as a backdrop to the opening scene that describes the plight of the dying planet.

There is a lot of diversity found in this score, with Giacchino switching between a larger, more triumphant sound (“Carter They Come, Carter They Fall,” “The Prize is Barsoom”) and something that is more mysterious and appropriately unearthly (“The Temple of Issus,” “A Thern Warning”). He also makes heavy use of voice, with either the choir or a single voice making an appearance in just about every track. The dexterity of the human voice gives it the ability to fit right in with the “unearthly” style of music mentioned as well as with the more tender, intimate moments of the score, such as at the start of the track “A Change of Heart.” They even fit in perfectly during the more aggressive, war-like bits of music, such as in the latter half of the track “The Prize is Barsoom.”

The Tharks are an indigenous species on Barsoom, not human-like in appearance, and they are represented well here by heavy percussion with a sort of tribal, primitive sound to it. It’s appropriately aggressive, just like the Tharks themselves. Giacchino uses strings to great effect, with the bowed instruments often acting as the driving force beneath the rest of the orchestra, usually playing an ostinato eighth note line, occasionally interjecting with a quieter version of theme heard in the other instruments. The strings also have many beautiful moments on their own, playing soft, warm melodies that emphasize the beauty of the world and the tenderness shown between Carter and Dejah Thoris.

The original John Carter stories as written by Edgar Rice Burroughs inspired many generations of scientists, writers, and even filmmakers. Among those was George Lucas, whose Star Wars saga borrows many elements of story and character from Burroughs’ work. It’s an ironic twist, then, for me to point out that there are parts of Giacchino’s score here that are reminiscent of John Williams’ score to Star Wars. No, nothing is ripped off, but there are certain points in the score when I can definitely hear the nod to Williams’ work, which is a nice touch that familiarizes the film a bit. You can even hear some of Giacchino’s Star Trek in here, though there’s nothing blatant enough to upset me. These three films all take place on foreign planets/in space, so the feel of them is similar (though Star Trek is definitely more sci-fi than the other two) and the music shares common elements of the genre.

Despite the fact that the film was not received very well, Giacchino’s score has received universal acclaim because, well, he’s awesome. With his score to John Carter, Giacchino has ventured into yet another new territory for him – that is, the territory of space fantasy – and has emerged victorious. His interpretation of John Carter’s Barsoom is on as grand a scale as the original book, but he also captures the more personal moments between our hero and Dejah Thoris. His ability to switch styles so quickly, from a majestic main theme to an aggressive percussion rhythm for the Tharks to ethereal strings/voices for the planet of Barsoom itself, makes the soundtrack just as epic as the film itself.

Rating: 5 (out of 5)

1. “A Thern for the Worse” 7:38
2. “Get Carter” 4:25
3. “Gravity of the Situation” 1:20
4. “Thark Side of Barsoom” 2:55
5. “Sab Than Pursues Princess” 5:33
6. “The Temple of Issus” 3:24
7. “Zodanga Happened” 4:01
8. “The Blue Light Special” 4:11
9. “Carter They Come, Carter They Fall” 3:55
10. “A Change of Heart” 3:04
11. “A Thern Warning” 4:04
12. “The Second Biggest Apes I’ve Seen This Month” 2:35
13. “The Right of Challenge” 2:22
14. “The Prize Is Barsoom” 4:29
15. “The Fight for Helium” 4:22
16. “Not Quite Finished” 2:06
17. “Thernabout” 1:18
18. “Ten Bitter Years” 3:12
19. “John Carter of Mars” 8:53

Total Length: app. 75 min.

iTunes Album Link

-Chad

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


John Carter (2012)

Note: This review is a short version of a more detailed look conducted in a post on my companion site, ChadTalksMovies, titled “My Adventures on Barsoom.” Check it out!
John Carter

Directed by Andrew Stanton (of Pixar fame) and released by Disney, I became quite excited to see this film upon seeing the trailers, but I faltered when it was received poorly by critics and didn’t do well at the box office. Recently, however, I read Michael D. Sellers’ book John Carter and the Gods of Hollywood (my review), which talks about why the film failed the way it did, getting me re-interested in John Carter and leading me to read author Edgar Rice Burroughs’ original book, A Princess of Mars (my review). All the while, I became more and more excited to see the film despite its negative reception – I wanted to see this world come to life! –  and, now that I’ve seen it…what’s wrong with everyone? What is there to dislike about this film?

Here is Disney’s official plot synopsis:

The film tells the story of war-weary, former military captain John Carter (Taylor Kitsch), who is inexplicably transported to Mars where he becomes reluctantly embroiled in a conflict of epic proportions amongst the inhabitants of the planet, including Tars Tarkas (Willem Dafoe) and the captivating Princess Dejah Thoris (Lynn Collins).

In a world on the brink of collapse, Carter rediscovers his humanity when he realizes that the survival of Barsoom and its people rests in his hands.

For the first half hour or so of the film, I was pretty skeptical. A confusing, not-from-the-book opening scene raises many questions right off the bat, and the first few minutes of the actual film are not much better. I began writing out a mental list of complaints, but I shoved that aside the farther I got into the film. Does it have its problems? Well, yeah, but every movie does. Does it deserve all of the negativity that it has received? Not by any stretch of the imagination.

Stanton takes plenty of liberties with Burroughs’ world and characters, but, looking back, I understand the reasoning behind every single one of them. While the John Carter of A Princess of Mars is a good guy just because he is a good guy and there’s no questioning it (it works great in the book), the John Carter of the film has issues; he’s stubborn, he’s selfish, and even disrespectful at times. However, all of this builds and builds to give Carter the opportunity to be the good guy, bringing a character arc that is needed for film. It is a pleasure to watch Taylor Kitsch as John Carter of Earth discover the part of him that is actually John Carter of Mars, willing to fight and die for the good beings of Barsoom. The Dejah Thoris of the book is not a warrior, nor is she a scientist, but she is both in the film, giving her a more active role in the story and letting her be more than just the romantic damsel in distress (which, again, worked really well in the book). Lynn Collins plays the character with an appropriate amount of spirit and energy, capturing both the romantic side of the character that would be required of a Princess of Mars, but she also brings the new feisty side of the character necessitated by the script. The addition of the mysterious Therns to the film is a bit confusing at first, and certain story elements and characters are removed, but all of it comes out okay, working for the film’s good.

The scope of the film is just as large as that of the book, with the choice of filming in real locations rather than using a green screen being something that I think humanizes it a bit, making it more accessible to the viewers. Sure, the original story is meant to be “out there,” but it’s more the characters who inhabit the world and how they interact with each other that create the scope of the story, not the world itself. That being said, the visuals in the film are fantastic, from the look of the Tharks to the design of the airships to the wide expanses of desert mountains. Composer Michael Giacchino’s score to the film is appropriately reminiscent of John Williams’ original score to Star Wars without being a copy, and you can even hear a bit of his score to Star Trek (my review) every now and again, though I’m not holding that against him by any means. Giacchino keeps a perfect balance between bringing out the largeness and epicness of the adventure and capturing the intimate moments between characters, and his main theme is one of my favorites by him.

There are certainly aspects from the book that I think would have worked well for the film, namely the story being told from Carter’s perspective or the more episodic style of storytelling, but the absence of these elements didn’t take away from my enjoyment of the film. In fact, the absence of these and other characters or story elements seen in the book helped to set the film apart as its own entity to be enjoyed. The important thing about this film is that it captures the heart of the source material without photocopying it from page to screen, and it does it in a way that is incredibly fun; the last half of the film, especially the few minutes just before the credits roll, are definitely my favorites. I should also mention that I liked Kitsch and Collins in the lead roles, but I also really liked Tars Tarkas as played by Willem Dafoe; he plays the character with a resolve that fits a character of his authority, but the compassionate side of the character also rings through, making him one of the best characters of the film. John Carter is not a perfect piece of cinema, but it’s good, old-fashioned storytelling at its best, with plenty of good humor, great action scenes, incredible special effects, and likable characters…and it’s certainly not deserving of all the negative criticism heaped upon it. If you haven’t seen it, give it a chance! I beg you!

-Chad

Rating: 4.5 (out of 5)

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

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


Star Trek Into Darkness (2013)

I’m not a Trekkie. I’ve only seen maybe three or four episodes of the original series – something I will hopefully amend in the near future – but I enjoyed J.J. Abram’s first venture into the Star Trek universe in the 2009 film quite a bit, so I was anxious to see the sequel, and I liked it. A lot.

Star Trek Into Darkness opens with a scene in which Captain Kirk of the USS Enterprise, played by Chris Pine, breaks several Starfleet rules and then lies about it, leading to a lecture from Admiral Pike (Bruce Greenwood) about how Kirk is careless, selfish, and over-confident. In the wake of his punishment, Starfleet is attacked by a mysterious man named John Harrison (Benedict Cumberbatch), leaving Kirk with no choice but to join his crew and track down this criminal. Along the way, Kirk struggles with making the right decisions and with protecting his crew from harm…and he can’t always do both.

The advantage that this film has over its predecessor is that it’s not an origin story, meaning that here we are dealing with the characters, their struggles, and their growth; the filmmakers didn’t have to establish their characters again because we as an audience are already familiar with them. That being said, Chris Pine does a fine job with communicating all of the conflict of his character to us, humanizing Kirk and showing that he is still a young man who can make mistakes – and makes plenty of them. Zachary Quinto as Spock also brings more to the table in this film; since Kirk and Spock are friends now, we see their relationship build and Spock make decisions based on that friendship rather than on logic. All of the familiar faces – Zoë Saldaña as Uhura, Karl Urban as Bones, Anton Yelchin as Chekov, Simon Pegg as Scotty, and John Cho as Sulu – do great jobs with their characters as well, with everyone building more on what was established in the first film. The newcomer, Benedict Cumberbatch as the villain John Harrison, brings all of the appropriate menace to the role, making him a formidable foe, and his acting chops are much, much better than Eric Bana’s were as Nero in the first film. I had seen Cumberbatch in Spielberg’s War Horse (my review) and in his BBC television series Sherlock (which is fantastic, by the way), but this was my first experience with him in a major film role, and it was definitely a positive one. His villain is very much multi-dimensional, and I even wondered at one point in the film if he was really the “bad guy” because of the incredible conviction that Cumberbatch plays him with.

The visual effects, as expected, are amazing, with the new worlds introduced to us ranging from bright and colorful to bleak and miserable, but all believable. While I’m normally indifferent to 3D, there was one moment while watching when it bothered me, which was in the very first scene when spears are being thrown in our faces…I think I actually tried to dodge one of them in my seat. However, the 3D is worth suffering through if you get the chance to see it in IMAX 3D – IMAX is always worth it, for any film. Seeing movies like this in IMAX, where everything is done on such a grand scale, only makes it even grander, which is wonderful. The music by Michael Giacchino, like his score to the first one (my review), and like any of his scores, is as expected – magnificent, intimate, and just awesome overall. But more on that later!

I must admit that, after walking out of the theater, I tried to figure out what the story was – how the villain became the villain, how this led to that, why this character did that, etc. I couldn’t tie the plot together…but I decided that I didn’t care. I walked out of that theater having had a blast, and that’s all that really matters to me in the long run…as long as there aren’t any huge problems with the movie elsewhere, and there weren’t. This movie, in my opinion at least, certainly improves upon its predecessor by giving us more – more character development, more destinations, more everything, and it’s entirely in a good way. I know there are lots of people out there who have concerns with J.J. Abrams directing the next Star Wars film, but, really, I think that if he can make such a fine science fiction space adventure film as Star Trek Into Darkness, it can’t turn out so bad. And with a cast that wants so badly to be better than they were in their previous film, succeeding in this attempt, I have high hopes for a Star Trek 3 in the future.

-Chad

Rating: 4.5 (out of 5)

MPAA: PG-13 – for intense sequences of sci-fi action and violence


Mission Impossible: Ghost Protocol (2011) – Michael Giacchino

Much like the Mission Impossible films starring Tom Cruise are almost spoofs of themselves, Michael Giacchino’s score to the latest installment, Mission Impossible: Ghost Protocol, spoofs both itself and every other action movie score…and it’s fantastic.

The album is as over-the-top as you can get, transitioning from eerie background music, such as in the opening track, “Give Her My Budapest,” into long, sweeping melodies, as heard in “A Man, a Plan, a Code, Dubai,” to exciting action music, such as in “World’s Worst Parking Valet.” All the while, we hear the iconic Mission Impossible theme song interspersed throughout, brilliantly blended into new music that manages to sometimes disguise it and at other times enhance it. Giacchino gives us music that is as loud and rambunctious as the action in the film itself, helping to form a sort of caricature of the action genre of film and the stereotypical action score.

Despite his ability to deliver these moments of almost obnoxious (in a good way), rowdy music, Giacchino sticks to his guns and manages to give us plenty of brilliant, quiet moments as well, such as in the tracks “Moreau Trouble Than She’s Worth” and “Putting the Miss in Mission.” Additionally, “Ghost Protocol” provides us with some chillingly dissonant music that slowly builds into a theme that I would describe as angsty and conflicted – a perfect embodiment of what is going on in the film at the time.

Giacchino, known for his scores to Disney/Pixar’s The Incredibles and Up, as well as his score to the J. J. Abrams Star Trek reboot, continues to show his diversity across genres with this score to Mission Impossible: Ghost Protocol, a score that is just as smart as it is fun. With the traditional wit found in the track titles (e.g. “In Russia, Phone Dials You,” “From Russia With Shove,” “Mumbai’s the Word,” etc.), this score is yet another testament to the fact that Giacchino is one of the best in the business.

Rating: 4 (out of 5)

  1. Give Her My Budapest (1:57)
  2. Light The Fuse (2:01)
  3. Knife To A Gun Fight (3:42)
  4. In Russia, Phone Dials You (1:40)
  5. Kremlin With Anticipation (4:12)
  6. From Russia With Shove (3:37)
  7. Ghost Protocol (4:58)
  8. Railcar Rundown (1:11)
  9. Hendricks’ Manifesto (3:17)
  10. A Man, A Plan, A Code, Dubai (2:44)
  11. Love The Glove (3:44)
  12. The Express Elevator (2:31)
  13. Mission Impersonatable (3:55)
  14. Moreau Trouble Than She’s Worth (6:44)
  15. Out For A Run (3:54)
  16. Eye Of The Wistrom (1:05)
  17. Mood India (4:28)
  18. Mumbai’s The Word (7:14)
  19. Launch Is On Hendricks (2:22)
  20. World’s Worst Parking Valet (5:03)
  21. Putting The Miss In Mission (5:19)
  22. Mission: Impossible Theme (Out With A Bang Version) (0:53)

Total Length: app. 77 min.

iTunes Album Link

-Chad

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


Mission Impossible: Ghost Protocol (2011)

I had never seen a Tom Cruise film before this one. It’s not that I necessarily made it a point to avoid them, but I definitely didn’t seek them out. Though I don’t agree with Cruise as a person, I must admit that I really liked Ghost Protocol.

I have never seen the first three films in this series, but I didn’t have too much trouble following the story; really, the story isn’t all that complicated. Ghost Protocol is a movie that delights in almost being a caricature of the action genre, which the title, Mission Impossible, already hints at. Why not make a ridiculous prison escape? Why not climb a skyscraper with zero safety equipment? Why not chase down the bad guy in the middle of a sandstorm? Tom Cruise has the sort of actor persona that allows him to perform these typically impossible feats without raising too much disbelief from the audience; we’re just here to sit back and enjoy the ride, and enjoy it we do.

I did feel that some of the action scenes dragged on a bit too long, though, particularly the aforementioned sandstorm chase and a later chase seen that involves a high-tech parking garage. I don’t think these scenes should have been scrapped altogether because they definitely did contain elements that were truly exciting and fun, but it went on for so long that I began glancing down at my watch and wondering how much longer Cruise was going to chase after the bad guy.

That complaint is small, though, in an otherwise fantastic film. It has action, action, and more action, but Brad Bird, being the expert director that he is (he is responsible for The Iron Giant and The Incredibles), approaches all of it in a way that is a pleasure to behold rather than a series of loud and excessive explosions, as might be seen in the typical Michael Bay film. With an awesome score provided by frequent Bird collaborator Michael Giacchino and a memorable performance from Cruise, Mission Impossible: Ghost Protocol is an action-packed thrill ride that promises the world on a plate and gives it to you. I am no longer quite so reluctant to view Tom Cruise films.

-Chad

Rating: 4 (out of 5)

MPAA: for sequences of intense action and violence

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


Star Trek (2009) – Michael Giacchino

It was only a matter of time before I looked at a Giacchino score! First up is his score to the reboot of the Star Trek franchise, which is one of his best…heck, I could say that about any of this guy’s scores!

Giacchino is one of the most adaptable and capable composers out there today. I would even venture to say that he’s the best film composer around right now. A bold statement, yes, but just look at his track record: LOSTThe IncrediblesStar TrekUp, etc…the list goes on and on!

Though I’ve owned Giacchino’s score to Star Trek for a couple of years now, today was the first time I sat down and listened to it critically, and I noticed something: it’s highly reminiscent of John Williams’ score to Star Wars – in a good way! For example, take a listen to the first track, “Star Trek”, and compare it to this track from Star Wars Episode IV: A New Hope, “Binary Sunset”. Long, beautiful melodies played on the solo French horn? Yup, definitely a match! You can hear this influence from Star Wars throughout, most evident in the heavy brass parts with the light woodwind/string countermelodies in the background – something that Williams is king of, but Giacchino comes awfully close to matching this skill.

While I’ve said that, yes, the score to this film is remininscent of Star Wars, Giacchino still manages to make it completely his own. “Labor of Love”, a heartbreaking piece that takes place as Thor Chris Hemsworth’s character gives up his life to save countless others, sounds hugely different from anything in Star Wars. “Enterprising Young Men” is exciting throughout, and “Hella Bar Talk” is a beautiful reflection of Jim Kirk’s decision to join Starfleet. There are also some cool parts featuring a chorus, such as in the track “Nero Death Experience”. “Nero Sighted” is aggressive and suspenseful, with an awesome low brass melody that is infinitely cooler (though, unfortunately, less iconic) than “The Imperial March” from Star Wars Episode V: The Empire Strikes Back.

Perhaps EVEN COOLER is how Giacchino intersperses an updated main theme from the original TV series, Star Trek: The Original Series, heard in “To Boldly Go” and “End Credits”. If I was a Trekkie, I would have jumped up and down in the theater upon hearing this nod to the original. How cool is Giacchino?!

Overall, Michael Giacchino’s score to Star Trek is everything that a Trekkie could ask for, everything a film score appreciator could ask for, and it raises the movie to heights higher than even the USS Enterprise could take them. Plus, with clever track names full of pop culture references (i.e. “Does It Still McFly?”, “Back from Black”, etc.), what’s not to love?

Rating: 5 (out of 5)

1 “Star Trek” 1:03
2 “Nailin’ the Kelvin” 2:09
3 “Labor of Love” 2:51
4 “Hella Bar Talk” 1:55
5 “Enterprising Young Men” 2:39
6 “Nero Sighted” 3:23
7 “Nice to Meld You” 3:13
8 “Run and Shoot Offense” 2:04
9 “Does It Still McFly?” 2:03
10 “Nero Death Experience” 5:38
11 “Nero Fiddles, Narada Burns” 2:34
12 “Back from Black” 0:59
13 “That New Car Smell” 4:46
14 “To Boldly Go” 0:26
15 “End Credits” 9:11

Total Length: app. 45 min.

iTunes Album Link

-Chad

Note: I know that all of these positive reviews may be tiresome, but all of these scores are being chosen from my personal collection at the moment, so why would I own anything that I dislike? Eventually, as the number of albums left to review thins out, I’ll experiment more with what I purchase, so, hopefully, my review ratings will vary more. Thanks for your patience!