 |
|
 |
|
 | |||||||||
| • | Newest Major Reviews: | . | • | This Week's Most Popular Reviews: | • | Best-Selling Albums: | ||
| . |
1. WALL·E 2. Kung Fu Panda 3. The Happening 4. Indiana Jones: Kingdom of the Crystal Skull 5. Iron Man | . | . |
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:
Shore succeeds in that task, to an extent. A certain classical touch from 100 years past is conveyed; as a matter of fact, Shore went ahead and worked the "Saturn, Bringer of Old Age" sequence from Gustav Holst's "The Planets" right into his original work. He constructs a simple, yet effective neo-classical theme and chord progression into almost every cue. It is no surprise, though, that the music loses some of the grandeur as Shore translates it; the end result is a score which broods at a minimalistic level not much unlike many of Shore's other scores for these types of films. I found that the classical influence was a welcome and interesting mutation of that Shore style, though it became very repetitive after one half of the score had passed on the album. This does not mean that the score is not elegant. It certainly is, but it will lull you to sleep rather than inspire you to any particular action. Even more interesting in regards to Shore's score for The Yards is its ability to occasionally kick in with an extra element of nobility, no doubt for the main character of the film who is betrayed by those who he has protected with his freedom. Shore, in a very subtle manner, calls upon the brass to perform some of his chord progressions with a sharp edge, and these moments present the highlights of the album. With the full force of the London Philharmonic Orchestra often playing in the lower range of their instruments' capabilities, the score certainly achieves its goal of pushing the power behind the drama. On album, however, The Yards suffers much like many other Shore albums. It requires a very close listen to fully appreciate its best elements, including a very slight operatic vocal that whispers into a few of the tracks. Otherwise, the score might slip by very quickly and without much notice. **
* from "The Planets" by Gustav Holst
Insert notes contain some words from the film's director. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|
|
|
