![]() |
|
| ||||||||||
| | 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 Recommends: Buy it... only if you are in the mood to hear Jerry Goldsmith at his most playful, with largely orchestral, prancing mayhem from start to finish. Avoid it... if Goldsmith's slapstick styles of Dennis the Menace and Looney Tunes: Back in Action annoy you more than they amuse you. Filmtracks Editorial Review:
If you can imagine a combination of Goldsmith's own Dennis the Menace and Jamshied Sharifi's Muppets from Space, then you begin to get an idea about both the scope and energy level of the score for Mom and Dad Save the World. The battle between the piano-performed love theme and another "Baby Elephant Walk"-influenced theme (which also seemingly inspired the wretched electric organ theme in Goldsmith's Mr. Baseball the same year) greets the listener in the opening track, and that battle continues to the very last note of the score. It would be interesting to know what exactly was going through Goldsmith's head when wrote this utterly silly bombast... Was he trying to write a slapstick comedy score for children? Something slightly darker, like Gremlins 2? Or did he immediately recognize the terrible quality of the picture and just say "ah, shucks" before unleashing his waves of random pseudo-sci-fi cues? Despite a few healthy themes that repeat sporadically throughout Mom and Dad Save the World, there really isn't much cohesiveness to the work. You have to enjoy the score cue-by-cue, whether it's a loungey piano solo, and choral chant, or a brooding action piece. Aside from a percussively outlandish and wincingly obnoxious "Rebel Dance" cue, the majority of the score is listenable in a typically slapstick manner. One advantage this score has is the crisp performance of the National Philharmonic Orchestra, a group that seems to do the best justice to Goldsmith's wilder, more imaginative scores. Be forewarned, however, that if material like Dennis the Menace or Goldsmith's final score, Looney Tunes: Back in Action, test your patience, then the cute marches, cliche jazz rolls, and stock orchestral fanfares here will serve no purpose for you. As a whole, Mom and Dad Save the World requires a very specific, adventuresome mood from the listener, and even a great majority of Goldsmith collectors will likely find too little new material in it to warrant full listens. As a composition, however, the score offers Goldsmith at his most playful --not necessary his most creative... this is no I.Q.-- but its prancing mayhem could very well drive you nuts if you aren't ready for it. **
Insert includes no extra information about the score or film. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|
|
|