SUPPORT FILMTRACKS! CLICK HERE FIRST:
Amazon.com
Amazon.co.uk
iTunes (U.S.)
Amazon.ca
Amazon.fr
eBay (U.S.)
Amazon.de
Amazon.es
Half.com
Glisten Effect
Editorial Reviews
Scoreboard Forum
Viewer Ratings
Composers
Awards
   NEWEST MAJOR REVIEWS:
     1. Transformers: Last Knight
    2. Cars 3
   3. The Mummy
  4. Wonder Woman
 5. POTC: Dead Men Tell No Tales
6. Alien: Covenant


   CURRENT BEST-SELLING SCORES:
       1. Rogue One: A Star Wars Story
      2. Fantastic Beasts/Find Them
     3. Willow
    4. The Ghost and the Darkness
   5. An American Tail
  6. The Wind and the Lion
 7. Doctor Strange
8. 10 Cloverfield Lane
   CURRENT MOST POPULAR REVIEWS:
         1. Star Wars: Force Awakens
        2. E.T. The Extra-Terrestrial
       3. Titanic
      4. Avatar
     5. Nineteen Eighty-Four
    6. Gladiator
   7. Star Wars: A New Hope
  8. Animal Farm
 9. LOTR: Fellowship of the Ring
10. Harry Potter: Sorcerer's Stone
Home Page
Mouse Hunt
(1997)
Album Cover Art
Composed, Conducted, and Produced by:

Orchestrated by:
William Ross
Conrad Pope
Chris Boardman
Labels Icon
LABEL & RELEASE DATE
Varèse Sarabande
(December 19th, 1997)
Availability Icon
ALBUM AVAILABILITY
Regular U.S. release.
Awards
AWARDS
None.
Also See Icon
ALSO SEE




Decorative Nonsense
PRINTER FRIENDLY VIEW
(inverts site colors)




   Availability | Viewer Ratings | Comments | Audio & Track Listings | Notes
Buy it... if you seek a transcendent slapstick comedy score that remains fondly remembered because of Alan Silvestri's unnecessary but thankfully complex orchestral march for its titular character.

Avoid it... if you have little patience for spirited comedy music that tears through several genres and rarely stays rooted in any one sound long enough to appreciate each individual facet.
Review Icon
EDITORIAL REVIEW
FILMTRACKS TRAFFIC RANK: #1,742
WRITTEN 1/4/12
Shopping Icon
BUY IT



Silvestri
Silvestri
Mouse Hunt: (Alan Silvestri) The fledgling Dreamworks studio decided to tackle the family genre for the first time 1997, striking financial gold with its initial slapstick offering, Mouse Hunt. The project also represented the major feature debut for director Gore Verbinski, who would gain fame for his later helming of the Pirates of the Caribbean franchise. Two awkward and clumsy brothers played by Nathan Lane and Lee Evans in Mouse Hunt inherit a failing string factory and a dilapidated old mansion that, due to their own hardships, they have to reside in together. As it's revealed to them that the house is the last remaining creation of a famed architect, they decide to restore it for auction, but standing in their way is a pesky mouse that thwarts their efforts at every turn. The battles between humans and rodent in the film are rich was standard slapstick laughs, and, as expected, the mouse ultimately has a fairly good chance to win the war. All is well in the end, however, and Mouse Hunt defied mixed to negative reviews by becoming a holiday favorite with audiences hungry for a reprise of some Home Alone-styled laughs. The film represented the start of a collaboration between Verbinski and composer Alan Silvestri that famously ended with the controversial dismissal of the latter man during the first Pirates of the Caribbean film. Silvestri's comedy prowess in the 1980's and 1990's was well respected in the industry, and his efforts for Verbinski's Mouse Hunt and The Mexican are both above average. Held in especially high esteem is the first score, a wild orchestral romp that raises all the energetic ruckus that one would expect to hear in this context without falling into the traps of parody techniques. While one would not have blamed Silvestri for raising memories of Carl Stalling and the innumerous cartoon scores that have addressed similar action, he manages to transcend that sound by tackling Mouse Hunt with more intelligence and unique personality than the film likely required. As with other comedy entries in Silvestri's career, this entry blasts wildly through a number of genres on its periphery, especially referencing vintage jazz to define its easy-going swagger. But the straight symphonic portions of the score excel because they emulate the kind of unnecessarily complex action that resided more firmly in John Williams' domain at the time, with a few snippets of exposition reminiscent of Silvestri's own prior works in the fantasy genre.



Ratings Icon
VIEWER RATINGS
110 TOTAL VOTES
Average: 3.3 Stars
***** 25 5 Stars
**** 31 4 Stars
*** 23 3 Stars
** 14 2 Stars
* 17 1 Stars
  (View results for all titles)

Comments Icon
COMMENTS
1 TOTAL COMMENTS
Read All Start New Thread Search Comments
I LOVE this score! *NM*
thw - February 15, 2012, at 8:58 p.m.
1 comment  (540 views)
More...


Track Listings Icon
TRACK LISTINGS AND AUDIO
Audio Samples   ▼
Total Time: 30:44
• 1. Main Title (2:39)
• 2. Funeral Prologue (1:11)
• 3. Chez Ernie (1:14)
• 4. Dying Wish (1:41)
• 5. Charles Lyle Larue (0:39)
• 6. What Are You Doing? (2:09)
• 7. Nail Gun (1:11)
• 8. Hot Tuboggan (0:55)
• 9. Cherry Catapult (1:31)
• 10. Ernie Finds the Contract (1:49)
• 11. Silent Movie (1:14)
• 12. Caesar's Big Drag (2:06)
• 13. Shotgun Chase (1:29)
• 14. Insufficient Postage (1:21)
• 15. Flaming Doo (1:50)
• 16. String Cheese (2:17)
• 17. End Credits (5:37)

Notes Icon
NOTES AND QUOTES
The insert includes no extra information about the score or film.
Copyright © 2012-2017, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten
or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from Mouse Hunt are Copyright © 1997, Varèse Sarabande and cannot be redistributed without the label's expressed written consent. Page created 1/4/12 (and not updated significantly since).
Reviews Preload Scoreboard decoration Ratings Preload Composers Preload Awards Preload Home Preload Search Preload