Filmtracks Recommends:
Buy it... only if you enjoyed the performances by Loudon Wainwright III in the film. Avoid it... if you expect anything more than droning electronic base, tired drum pad hits, and lazy rhythm loops from Richard Gibbs' score. Filmtracks Editorial Review:
28 Days: (Richard Gibbs) With almost laughable insincerity, 28 Days is an unrealistic Hollywood interpretation of how rehab clinics should work. Taking us on this all-too-fluffy journey is Sandra Bullock, who attempted to use the film to redirect her career to a more serious, dramatic direction. Unfortunately, the lack of true trials and temptations depicted in the plot caused audiences and critics to be unconvinced about Bullock's transition and the film bombed. Almost as anonymous as the rest of the picture was the score by Richard Gibbs, who, over the first ten years of his career, had made a living out of providing low cost scores for films that seemed to rise and fade very quickly from public view. There had been some exceptions, with Dr. Dolittle and 10 Things I Hate About You serving as major assignments, but as you can tell from those titles, Gibbs is the kind of composer who's always scoring those dumb blockbusters that are almost never remembered for their original scores. Gibbs was a founding member of Oingo Boingo, and while that involvement has led to steady work on films that don't require award-winning scores, he still hasn't been able to transcend in the industry like Danny Elfman or Steve Bartek. His music tends to be simplistic and electronically driven, led by jazzy and light rock styles, and while this overarching style works for many films by definition, it doesn't lend itself well to standalone listening. In the case of 28 Days, Gibbs' score would be completely overshadowed by the incorporation of songs in the film --not unusual in his projects-- and the same would apply to this particular film's album release. The variety of country western songs and a low-key, modest underscore causes the album to pass very quickly and without much notice, not even stirring up enough imagination to even result in the usual conflicts that arise on such combo albums. In its intent to add a hip, country style to the film's locale, the music of 28 Days has the makings of a Mark Knopfler score, but without all of the associated spirit. Why this particular clinic in the film merited that kind of down-to-earth score might be quested by some, especially in a professional sense. On the other hand, Gibbs' score certainly does one thing better than others that most listeners will have heard: capture the essence of a drunken stupor. The first score track on the album uses sliding, octave-wavering synthesizer scales to imitate the drunken state of the film's main character, almost to the level of comedy. After this track, the remaining score has the tone and energy of a person in a daze (or perhaps a hangover), with the slides of the drunkeness toned back and accompanied by the occasional distant wail of a siren. Is this supposed to have a psychological impact? Gibbs' contribution has very little enthusiasm to offer, often held to a minimalistic droning of electronic base, tired drum pad hits, and lazy rhythm loops. With the country western songs interspersed like score tracks, Gibbs' music takes on the same features; its most vibrant outburst occurs during the all-too-short "Ode de Toilet." Even the moments of orchestral underscore are bleak, with a minimal number of players performing repetitive, themeless bars. With a rise of percussion and various electric guitars, the score exits with one upbeat note in its final track. What makes the album even more difficult to appreciate is its construct. At thirty-six minutes overall, the album contains less than twenty minutes of Gibbs' score. The rest of the material consists of songs that weave in and out of the score, sometimes within even the same track. The country songs will likely be of more interest to most of those who purchase this album; the vocal selections by Loudon Wainwright III perhaps best fit the spirit of the film, especially given his appearance in the film itself. In the end, however, one can only wonder why this album is in existence, for it doesn't really offer enough in score or song to satisfy either camp. ** Track Listings:
Total Time: 36:21
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