Tag Archives: The Bourne Legacy

Skyfall (2012) – Thomas Newman

Thomas Newman is a composer who I’m fairly familiar with; I own his soundtracks for Finding NemoWall-ELemony Snicket’s A Series of Unfortunate Events, and The Help, all of which are pretty good. BUT they are all quite outside the action genre, so you can imagine my surprise when I learned that Newman was composing the score to the newest James Bond film. I must admit, I was a bit unimpressed during my first listen, but over time, especially after seeing the film, I’ve grown to really enjoy it and was happy to see it nominated for Best Original Score at the 85th Academy Awards.

The very first track, “Grand Bazaar, Istanbul,” opens with the familiar trumpet notes heard in David Arnold’s arrangement of Monty Norman’s “James Bond Theme” from Casino Royale (2007), called “The Name’s Bond…James Bond.” This transitions into a sort of groove that takes us completely through the opening chase sequence through the bazaar and on top of the train. It perfectly captures the excitement and anxiety of the moment, pushing forward with brass and an energetic percussion beat. There are a lot of these action-packed tracks that match the action-packed film, including tracks such as “Granborough Road,” which uses mainly strings to drive the music forward and closes with a soft rendition of the “James Bond Theme” on guitar, and “Welcome to Scotland,” which relies again on brass and percussion. A wonderful moment in the soundtrack is heard in “Breadcrumbs” when we’re treated to a more complete rendition of the main theme, typical of the James Bond films of old.

The score is not without its light moments though, which is appropriate since this is one of the more thoughtful and contemplative of the film series. “Day Wasted” features a shimmery sort of electric background before the strings come in with gentle interruptions that hint at the main theme. A later track, “Mother,” which almost sounds like it has a couple of featured voices, though it may just be an instrument that emulates the voice. Halfway through the track, warm brass sounds join the mix, helping to emphasize that Bond is home again and is being faced with his past. Other more gentle tracks include “Enjoying Death” and “Close Shave.”

Newman has done a fine job with the music to Skyfall after taking over from David Arnold, who had composed the scores to five previous Bond films. My one disappointment is that, aside from the main theme, the bits of Adele’s “Skyfall,” and a couple of instances of repeated musical ideas, there isn’t another unifying theme heard throughout the soundtrack. I had the same complaint in my review of James Newton Howard’s score for The Bourne Legacy, which lacked the unifying theme heard in John Powell’s scores to the original Bourne trilogy. Despite that disappointment, the score to Skyfall is an excellent action film score, which you don’t often get.

I would be remiss to not say a couple of things about Adele’s “Skyfall,” the title song for the film, though it was not composed by Newman (bits of it can be heard in the soundtrack tracks “Skyfall” and “Komodo Dragon”). It’s probably my favorite Bond title song (that I’ve heard), and I’m certain that it will win Best Original Song at the 85th Academy Awards.

Rating: 4 (out of 5)

1. “Grand Bazaar, Istanbul” 5:14
2. “Voluntary Retirement” 2:22
3. “New Digs” 2:32
4. “Sévérine” 1:20
5. “Brave New World” 1:50
6. “Shanghai Drive” 1:26
7. “Jellyfish” 3:22
8. “Silhouette” 0:56
9. “Modigliani” 1:04
10. “Day Wasted” 1:31
11. “Quartermaster” 4:48
12. “Someone Usually Dies” 2:29
13. “Komodo Dragon” 3:20
14. “The Bloody Shot” 4:46
15. “Enjoying Death” 1:13
16. “The Chimera” 1:58
17. “Close Shave” 1:32
18. “Health & Safety” 1:29
19. “Granborough Road” 2:32
20. “Tennyson” 2:14
21. “Enquiry” 2:49
22. “Breadcrumbs” 2:02
23. “Skyfall” 2:32
24. “Kill Them First” 2:22
25. “Welcome to Scotland” 3:21
26. “She’s Mine” 3:53
27. “The Moors” 2:39
28. “Deep Water” 5:11
29. “Mother” 1:48
30. “Adrenaline” 2:18
31. “Old Dog, New Tricks” 1:48

Total Length: app. 80 min.

iTunes Album Link

-Chad

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


The Bourne Legacy (2012)

I would love to sit here and tell you all that The Bourne Legacy was just as good as any film in the original Damon trilogy, but, unfortunately, I can’t. While I did enjoy it, this is one of those films in which the bad or not-so-great outweighs the good.

*mild spoilers ahead*

The plot was weak and confusing; the entire first half of the film had me wondering what was happening, who was who, and why certain decisions were being made. While this wouldn’t have been a problem if all of my questions had been answered later in the film, most of them weren’t. I think that the film suffered from being set within the timeline of the original trilogy; references would have been fine, but this film takes place during and immediately after the third film, making things feel forced and a bit rushed. It would have been better to see the main character as a member of a completely separate, unrelated-to-Bourne project so that the film could be viewed less as a sequel and more as a continuation with a new focus.

I also wasn’t a huge fan of the whole “chemically-altered super-human” part of the story…it worked for Captain America because he is a superhero set in a different universe with different rules than ours. While this type of chemical altering may eventually become reality in our own universe, it just feels silly in the context of the film; a super-human doesn’t have the same appeal as a highly-gifted and intensely-trained person in a non-superhero world.

I enjoyed Jeremy Renner as Aaron Cross, but I felt that the character’s “motivation” was not adequate enough to justify the full movie. It is not the attempt on his life that motivates him (at least, it doesn’t feel like it is), but, rather, his dependency on some pills distributed by the organization he works for that seems to push him into action; the entire middle portion of the film is watching Cross find a way to get his hands on some of these pills. I also had a problem with Rachel Weisz’s character, Dr. Marta Shearling, a woman who seems to take no issue with the fact that Cross is capable of fighting and killing with apparent ease…there’s not even a moment’s flicker of doubt as she continues on her journey with this violent man. In The Bourne Identity, Marie tried to run away from Jason Bourne when she found out who he was and what he was capable of, only staying because Bourne convinces her that she needs him to survive…for at least a little while. There’s a moment that is sort of like this in The Bourne Legacy, but it is subdued and less effective. She asks no questions and makes no attempts to flee.

Though the character wasn’t as fleshed out as he could have been in the script, Renner as Aaron Cross worked wonderfully as the follow-up to Damon’s Bourne. Renner plays the character with a resolve that almost makes you forgive the rocky motivations that Cross acts on. Edward Norton was excellent in this film. His character, Eric Byer, is in charge of cleaning up after the CIA’s “Treadstone” and “Blackbriar” programs (the programs that created/tried to kill Bourne, respectfully). He’s got a sharp tongue, a firm authority, and a sense of urgency that you can’t help but admire. Another bright part of the movie was the action; Jeremy Renner did a great job with the physical aspect of the character as well, giving us fight scenes that, while not as inspired as the first fights in The Bourne Identity, entertain without becoming too much of a good thing…with one exception. The last twenty minutes or so of the film consists of one overly gratuitous chase sequence…it just takes way too long.

*end spoilers*

Let’s face it: The Bourne Legacy had quite a – well – legacy to live up to. The original trilogy starring Matt Damon in the title role was excellent in terms of plot, character development, emotion, and action. Unfortunately, Legacy fell short in just about every regard, but just because it isn’t as good as the original trilogy doesn’t mean that it isn’t enjoyable – because it is. The Bourne Legacy delivers plenty in the way of action and humor, and, after his brief screen time in The Avengers earlier this year and his supporting role in Mission Impossible: Ghost Protocol, it was nice to see Jeremy Renner as the main protagonist. Boosted along by a fantastic score by James Newton Howard, The Bourne Legacy may disappoint die-hard fans of the original trilogy, but it is still a fairly entertaining summer action film that will please the average moviegoer.

Rating: 2 (out of 5)

MPAA: PG-13 – for violence and action sequences

P.S. – Read my review of this film’s score, composed by James Newton Howard, here!


The Bourne Legacy (2012) – James Newton Howard

When I first learned that James Newton Howard was to be composing the score, I was actually a little bit worried – not because of my lack of faith in Newton Howard as a composer, but because it’s such an opposite film from the kinds he normally composes for. When I think Newton Howard, I think beautiful, flowing melodies, rich orchestra, and perhaps a warm brass fanfare or two…I certainly don’t think “action film”. John Powell composed the scores for the original Bourne trilogy, so I was surprised that he didn’t return. Despite my reservations, however, Newton Howard did a splendid job.

 I have two favorite things about this album: 1) the opening track, “Legacy”, contains the main theme for Bourne as heard in the opening track of The Bourne Identity‘s score, “Main Titles”; 2) the closing track is an updated version of Moby’s “Extreme Ways”, featuring a more orchestral accompaniment and the subtitle “Bourne’s Legacy”. “Extreme Ways” played in the end credits of all three Matt Damon Bourne films, so it’s nice to see it return.

Aside from those two tracks, much of this score is a lot more…”much-ier” than John Powell’s original scores. Newton Howard uses some of the same electronic orchestration, but he combines it with an orchestra in a way that is consistently action-packed and suspenseful. Whereas much of The Bourne Identity‘s score was a bit minimal, The Bourne Legacy‘s score features tracks like “Drone”, “High Powered Rifle”, and “Magsaysay Suite” that are much bigger and decidedly not minimal.

That’s not to say that Newton Howard sacrifices the kind of music I know him for in favor of this new, aggressive style. In fact, his traditional style of music is also featured throughout; in “You Fell in Love”, we hear a somber melody that starts dramatically in the low string part before the high strings take over and just about break your heart. Another track, “Aftermath”, opens with long, sustained strings that seem to emulate great loss or tragedy. This builds into a strong, full string orchestra that hints at a mission unfinished and more to come.

One thing I miss from The Bourne Legacy‘s score, though, is a consistent motif that is heard throughout the film that lets the audience know that something is either happening or about to happen. In Powell’s original score, you can hear what I’m talking about in the track “At the Bank”; this motif is catchy, prominent, and featured throughout, and it trains the audience to know that something awesome is going on when you hear it. There’s nothing like that (that I’ve noticed) in Newton Howard’s score, unfortunately.

Despite that small complaint, I’m overall pretty pleased with The Bourne Legacy‘s score. It keeps you sitting on the edge of your seat – or, if you’re standing, on your toes – throughout, and it supplies plenty of both compelling action and emotion, showing that this job is not just about killing people…it’s about finding who you are and doing something about it. James Newton Howard’s deviation from his normal style is refreshing and opens plenty of doors for both his career and for the continuation of the Bourne film series. This score definitely has me even more excited to see Jeremy Renner in the new film next week!

Rating: 4 (out of 5)

1. “Legacy”   2:40
2. “Drone”   4:15
3. “NRAG”   0:59
4. “You Fell in Love”   1:42
5. “Program Shutdown”   3:00
6. “Over the Mountain”   0:51
7. “High Powered Rifle”   2:50
8. “They’re All Dead”   2:48
9. “Manila Lab”   2:40
10. “Wolves/Sic Ric”   2:19
11. “Doctor of What?”   4:28
12. “Aaron in Chicago”   1:32
13. “Wolf Attack”   2:57
14. “Chem Talk”   1:35
15. “Flight 167”   3:30
16. “Aaron Run!”   1:08
17. “You Belong Here”   1:17
18. “Cognitive Degrade”   2:49
19. “17 Hour Head Start”   3:51
20. “Viralled Out”   0:58
21. “You’re Doing Fine”   1:18
22. “Simon Ross”   1:37
23. “LARX Tarmac”   1:45
24. “Magsaysay Suite”   3:04
25. “Aftermath”   2:49
26. “Extreme Ways (Bourne’s Legacy)” (Moby) 4:51

Total Length: app. 64 min.

iTunes Album Link

-Chad

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