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| • | Newest Major Reviews: | . | • | This Week's Most Popular Reviews: | • | Best-Selling Albums: | ||
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1. Nim's Island 2. The Life Before Her Eyes 3. Horton Hears a Who! 4. Leatherheads 5. The Spiderwick Chronicles | . | . |
1. Moulin Rouge 2. Gladiator 3. POTC: Curse of the Black Pearl 4. Star Wars: A New Hope 5. Edward Scissorhands |
6. Pearl Harbor 7. Schindler's List 8. Titanic 9. Braveheart 10. Home Alone | . | . |
1. Varèse Sarabande 25th 2. The Last of the Mohicans 3. Legends of the Fall 4. Schindler's List 5. LOTR: Return of the King (Set) |
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Filmtracks Editorial Review:
Get Carter: (Tyler Bates) In what could be a breakout effort for its composer, Get Carter is a score that very much mirrors the sharp edge of the motion picture. In a vengeful story of violent action, the film exists along similar lines as other cult, action flicks in the modern setting. In response, Tyler Bates composes a short score that captures the basic emotions of anger, revenge, and madness. The music, as an alternative to regular song placement in the film, is, in reality, a sort of extension of the alternative rock that can be heard on the film's sister album release. Dominated by percussion elements, the score is essentially a series of rhythms and beats that are accentuated where needed to coincide with the action on the screen. To that end, the music in the film functions like a heartbeat that propels the action to each climax, and then yielding to a new rhythm for a subsequent scene. On album, these rushing, powerful rhythmic cues occupy the mass of the time, with quiet interludes occasionally performed by cello (such as tracks three and fourteen). A few of the cues employ a trombone to add an extra edge to the underlying synthetics, though its appearances seem few. Outside of these two elements, the score is a percussive enthusiast's best possible outcome. The rhythms established by the regular band elements, including keyboards, drums, and electric guitar, are relentless and continuous for extended sequences. While their existence over chase scenes is an adequate approach for the film, they become tiresome in their repetitive and simplistic form. If you wait for them to develop into any sort of consistent motif as the album progresses, you will be disappointed. The percussive arrays become even more ambitious and voluminous near the end of the album, transgressing from the alternative rock sound to one that borders on heavy metal. Because these lengthy cues of noisy percussion never develop a consistent theme or motif to represent any character (beyond the raw emotional representation that such rhythms suggest), the album is a difficult listen. It is easy to get the impression that Bates could be an experienced songwriter for bands, while not following some of the basic rules of cue-shifts for scores. There is no doubt an attitude in Get Carter's score that very well suits the visuals for which it was meant, but on album, it suffers from a schizophrenia that is difficult to handle. The rhythms are imposing and often harsh, with beats varying between mutiple genres of music from track to track. The more subdued interludes are simply lost amongst these eruptions of percussion. Perhaps the most interesting aspect of the album is the vocal announcement mixed in at the beginning of the fourth track. Overall, Get Carter is a modern percussion artist's dream come true, but it will likely not appeal to the collector of film scores. **
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