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The Texas Chainsaw Massacre on DVD
• Music video feature • Dolby Digital 5.1 EX More DVD info... |
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The Texas Chainsaw Massacre on DVD
• Music video feature • Dolby Digital 5.1 EX More DVD info... |
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Filmtracks Recommends:
Buy it... only if you were captivated by the music in the film. Avoid it... if you are tired of uninteresting, droning, generic horror underscores that do nothing unique in comparison to the hundreds of others like it. Filmtracks Editorial Review:
It is a shame, therefore, that Jablonsky's first major feature film assignment would be one of such low budget and low standards. His work for video games and television series is perhaps a better indicator of Jablonsky's talent, for The Texas Chainsaw Massacre is just as much of a nightmare for film score listeners as the massacre itself was for its thirty-three victims. Christopher Young has single-handedly proven that horror scores can be extremely effective by alternating all of Nispel's sonic requests (dissonant, atonal, subliminal, disturbing, etc) with elements of traditional harmony and melody that, if anything, puts the listener even more on the edge of his/her seat. But in the case of Jablonsky and The Texas Chainsaw Massacre, we get the dreaded, precise result of our expectations when imagining low budget horror scores of extreme dissonance. This score could once again raise questions about the fine line between music and sound effects, and is far from being as interesting as New Line Cinema's previous slashing horror entry, Freddy vs. Jason, in 2003, which featured a score from Graeme Revell that was both functional and interesting when heard apart from the film. What Jablonsky has written for The Texas Chainsaw Massacre is very simplistic, with a subtle motif (it doesn't really qualify as a theme) for the Hewitt house and Leatherface that appears just two or three times over the course of the film. Otherwise, the music rumbles with stock droning sounds of the keyboards and mucks around below the surface for much of its length. That is, of course, unless someone's getting dismembered by a chainsaw, in which case Jablonsky slams on the synth drums and percussive clangs. Frenetic string effects are jarring in their application to these slashing moments, and their use points to a flaw with general recording. When the score needs vibrant life, such as in the "Mercy Killing" cue, the music is held at a distance by a muted, dull recording quality. Parts of The Texas Chainsaw Massacre may have been intriguing on album if more of the subtleties could have been heard over the basic, droning, flat sound quality. The score is so generic in its cliche horror that the album features a false resolution in which a somewhat harmonic statement within the final cue is battered by a sudden crashing of synths. Overall, between the composition and its recording, this is one mystery best left undiscovered. *
The insert includes detailed notes about the score and film. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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