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Year One
(2009)
Album Cover Art
Composed and Produced by:
Theodore Shapiro

Co-Orchestrated and Conducted by:
Pete Anthony

Co-Orchestrated by:
Randy Kerber
Jon Kull
John Ashton Thomas
Bruce Babcock
Jon Magnussen

Performed by:
The Hollywood Studio Symphony Orchestra
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LABEL & RELEASE DATE
Lakeshore Records
(June 16th, 2009)
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ALBUM AVAILABILITY
Regular U.S. release.
Awards
AWARDS
None.
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   Availability | Viewer Ratings | Comments | Audio & Track Listings | Notes
Buy it... if you have no trouble balancing the ass-kicking contemporary rock passages and broad orchestral material that exists in perpetual battle with one another in this wild listening experience.

Avoid it... if you seek any memorable aspect other than its hip personality to take from this score, for its themes and stylistic constructs match the incongruous and predictably dumb nature of the film.
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EDITORIAL REVIEW
FILMTRACKS TRAFFIC RANK: #1,757
WRITTEN 7/5/09
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Shapiro
Shapiro
Year One: (Theodore Shapiro) What happened to Harold Ramis? How has such a great career so thoroughly gone down the toilet? What exactly was he thinking when he took command of Year One? The hopelessly stupid buddy film had potential as a biblical satire, exploring the book of Genesis through the perspective of two dorky, primitive men in search of women and a higher existence. What could have been a film that touched upon Monty Python territory instead became ensnared by all the pitfalls of mindless comedies that rely upon fart and penis jokes to sustain interest. The fact that co-producer Judd Apatow once stated that he would insert a penis in each of his future projects does impact the amount of grotesque male and female flesh in Year One, some of which so disgusting that some audiences reportedly wept (and not due to laughter). The involvement of various biblical figures and locations in the plot is diminished by the low intelligence of the humor and poor screen chemistry between leads Jack Black and Michael Cera. Critics universally exposed these problems, though that didn't stop brainless audiences from rewarding Columbia Pictures with sizable grosses. Approaching the music to these crossover films always presents trouble for composers. Two extremely important questions have to be asked when faced with this kind of project: will the period and location be treated absolutely seriously to produce a parody effect by juxtaposing totally serious orchestral and ethnic music with the actions and punch lines on screen? Or will the film's intent as a silly, mindless comedy be exposed directly in the tone of the music, serving as a bridge between contemporary culture references and ancient times? When it comes to the interest of soundtrack collectors, the only truly listenable material when divorced from the visuals results when a composer and the production team choose the first option. The best recent example of a completely serious score for a dumb comedy that works well on album is Christopher Lennertz's Meet the Spartans. Unfortunately, while experienced comedy composer Theodore Shapiro originally followed a similar path, he eventually took the score in the direction of option two, exposing the true nature of the project but thus creating an album that is haphazardly challenging in its incongruent culture clashes.



Ratings Icon
VIEWER RATINGS
164 TOTAL VOTES
Average: 2.38 Stars
***** 11 5 Stars
**** 21 4 Stars
*** 36 3 Stars
** 48 2 Stars
* 48 1 Stars
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