 |
|
 |
|
 | |||||||||
| • | Newest Major Reviews: | . | • | This Week's Most Popular Reviews: | • | Best-Selling Albums: | ||
| . |
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) |
 | ||||||||
|
|
|
Filmtracks Editorial Review:
Balancing the obvious horror aspects of this score are several moments of enchantment, which is something I have not heard from Davis with a large ensemble since Warriors of Virtue. With more emphasis on the orchestra and choir, and less on the rhythms and sound effect qualities of the synthesizers, the music for this score will likely satisfy those who enjoyed The Matrix, but were aggravated by their perception of an excess of electronics in that work. For House of Frankenstein, Davis balances them very well, providing moments in the lengthy score that will appeal to both the orchestral/choral and electronic music fans. The score opens with a momentous horror fanfare with strong shades of Hellraiser II attached. Aside from the heavy adult chorus and pompous rhythm (another page taken from and/or inspired by Orff's Carmina Burana), the piece is a tribute to the grand Christopher Young horror fanfares of the Fly II/Hellraiser II era. Many of the filler cues in the middle of the score which require jumpy horror surprises also remind me of the same Young motifs of a decade ago. Balancing these sequences are the moments of lesser noise, but more quality thematic development. There are extended sequences, such as the two plus minutes in track twelve, when Davis adopts a more dramatic and graceful choral style. These moments, when they begin to pick up the pace, create great, solid action cues such as track twenty, which makes great use of all of Davis' arsenal of talents. With this long promotional album, however, comes a fair share of cues that are horrific in intent, and therefore could make the album a "pick and choose" compilation candidate. Its moments of choral majesty are simply superb, as are Davis' employment of a decently sized orchestra and his subsequent whipping of a good pace out of it. As with a few of his other scores, though, I'm not as partial to the electronics he mixes into some of his cues... nor am I a fan of cues that constantly bombard the listener with unpredictable loud noises of electronic origin. But Davis's score for House of Frankenstein as a whole is above the industry standard, with a few select outstanding cues, and if you enjoyed The Matrix, then you won't be disappointed by this one. Here, you even get a sampling of the rippling brass that wavers back and forth from speaker to speaker as you heard in the finale of The Matrix... ***
Insert includes no extra information about the score or film. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|
|
|
