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Filmtracks Editorial Review:
Less enhanced by orchestral might and more entrenched in the electronic cello samples two generations away from the Hans Zimmer formula, Just Visiting goes through melodramatic motions without the instrumentation to make it really work. Nevertheless, Powell and Glennie-Smith do go out of their way to provide a score on paper that is likely far more impressive than the film probably deserved. In construct, the music is emotional at its base and grandiose in parts. A substantial portion was composed by Glennie-Smith (even though Powell somehow gets away with most of the credit for this one), and it is Glennie-Smith's contribution to the score that often introduces the needed orchestral performances of their compositional ideas. The synthesizers are unfortunately present the most when the score needs them the least --in the opening sequences of centuries ago. The sequences in England are handled primarily by synthesizers, with token harpsichord and bagpipe mixes to add a shallow element of locale to the music. The end result of these few cues at the start is a sound that is corny to the ear, which I suppose is only appropriate given the plot of the film. Perhaps I shouldn't complain about it... Once in modern Chicago, the composers' talents with the synthesizers and guitars are better utilized. The "Tub for Two" track is the sole standout comedy cue in the score, and its silliness is actually a highlight of the album. This track may be more reflective of the film's sense of humor, and yet it is surrounded by many somber cues of drawn out minor key motifs. In fact, there are so many dramatically conceived cues in the score that one might confuse this for a Hallmark effort after a while. The choral elements alternate between the synthesized variety and the real thing recorded in London. The real chorus is infrequent and the synthesized one is, after five years of the same samples, beginning to get old. Ironically, it is when Powell and Glennie-Smith get into the pop rhythms that the score begins to become interesting, such as the "On the Bridge" track, which combines and classical string progression mixes into a modern beat... leading to a good combination of genres for the score. It's almost like a simplistic realization of Patrick Doyle's Great Expectations. Unfortunately, Just Visiting is lacking in romantic bite in key parts because of the weak depth of the recording. If you remember back to Chicken Run, you'll recall and stunning sound quality and incredible blend of orchestral and synthesized elements into one neat package. The music for Just Visiting doesn't sound as crisp, often existing seemingly behind a wall, muting the performance to an extent. Glennie-Smith's cues tend to have a better feel than Powell's, for reasons that are hard to describe. There is very little echo to this score, and it won't blow you away with a title theme either. While several subthemes weave in and out without much enthusiasm, there is no one aspect to tie this score together into a cohesive whole. I doubt this was because of the collaboration aspect of the project, but rather perhaps because the film is a stinker to begin with. It makes you wonder if composers conjure up a good score in their heads (ranging from cool to magnificent) and then discover that the film is a flop and then take less effort to flesh out their ideas. What you're left with is a cue that sounds like a demo, such as the "Big Chase" track in this score, and leaves you without a sound you can enjoy when divorced from the visuals. The song at the end of the album has a dance mix that actually, for some reason, seems oddly appropriate for an 80's cartoon. Go figure. A better song might have made this a listenable album. **
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