While I found Abrams reboot of Star Trek invigorating and epic, I was manifestly disappointed in Giacchino's score. Expecting a fresh perspective while keeping with the majestic orchestral Trek themes of the last four decades left me with a theme barely memorable moments after walking out of the theater. Not even repeated listenings to the too-brief album create a sense of scale or memory for this score.

For me, the strongest tracks were "Labor of Love" and "Enterprising Young Men," with the former striking sympathetic chords during the birth of Jim Kirk while his father pilots the Kelvin to destruction; the latter serving as presage to the reveal of the Enterprise to Kirk and McCoy. But the latter invokes inevitable (and arguably unfair) comparisons to Jerry Goldsmih's epic "The Enterprise" from 1979's Oscar-nominated "Star Trek: The Motion Picture" score.

Although Giacchino employs some up-tempo moments, there is no lyrical theme that makes this score memorable. To the extent that it serves as the musical backdrop for the movie it is succesful, but it would seem numerous composers could have turned out a similar effort. This score ranges from the brooding to the cloyingly staccato, never truly taking much of a risk in an effort either to link to Trek's musical past or establish a strong thematic future.

Abrams Trek reboot is an unqualified success. It is manifestly disapponting a similarly successful score did not accompany it.

I agree whole-heartedly.

The film was a lot of fun, and a fresh take on what could very easily have been stale material.

My major complaint about the score (as heard within the context of the film, and not as a stand alone CD), however, deals with what I see as misuse of thematic content.

While some scenes are tremendously powerful - demonstrating, I am sure, that Giacchino does have a great musical talent - there is so much ill-advised use of thematic material, seemingly out of context, that it ruins the overall effect.

What I presume is to be called the "enterprise theme" (opening credits, when we first see the enterprise, etc...) is FAR too present, and particularly in scenes where the Enterprise and her crew are NOT the focus of the action (notably during the destruction of the Romulan vessel at the end).

There are many fine bits of scoring int he film, I don't anyone to think I hate the whole score or how it is inserted into the film. But there are far too many moments where the music is too "pompous" and cartoonish.

Add to that the orchestration has a tendency to a stale 2-dimensional style (very reminiscent of Hans Zimmer's orchestral style). There isn't enough actual orchestral counterpoint and the textures of the orchestration tend to be rather bland and repetitive, relying far too much on overly obvious devices (pounding drums, string ostinati, etc..).

The moment where all of this comes to a final blow, is the closing credits. Superimposing Giacchino's music over Alexander Courage's original trek theme only serves to highlight how dismal the orchestration is and how 2-dimensional the harmony and thematic treatment are.

I loved the film, so I would give the score a good rating purely because it is associated with a film I enjoyed.

If I were rating this as a stand-alone score, it would get a failing mark, for all of the above reasons.

YES YES YES YES!!!! In all honesty, my best friend and I walked out of the theater both thinking that the main theme of this movie would be much better served as a B-level theme. For me, it would be something akin to Ilea's theme from the original motion picture. It's much more of a love theme than the action theme that Giacchino tried to make it.

AND your comments on the orchestration are completely spot on! It seems like his stuff has just been stale ever since he wrote that piece for Cloverfield. He writes music with one line that repeats from beginning to end (or very near to it) and, in The Incredibles, that was made interesting in certain cues by changing who was playing that line, what range the line was in etc. It seems to me that has been lost in his music ever since ROAR.

I must say, though, that the ending credits are my very favorite part of the score because there is so much life in how he treats Alexander Courage's theme. Although I definitely believe that using his main theme over the fanfare theme while Leonard Nimoy is making the speech) was not very good. I just don't hear how they fit together (probably 'cause they really don't.)

All-in-all, yeah I was disappointed in the score. But luckily, it's good enough to be enjoyed now and again.

Wonderful observations, both of you.

> I agree whole-heartedly.

> The film was a lot of fun, and a fresh take on what could very easily have
> been stale material.

> My major complaint about the score (as heard within the context of the
> film, and not as a stand alone CD), however, deals with what I see as
> misuse of thematic content.

> While some scenes are tremendously powerful - demonstrating, I am sure,
> that Giacchino does have a great musical talent - there is so much
> ill-advised use of thematic material, seemingly out of context, that it
> ruins the overall effect.

> What I presume is to be called the "enterprise theme" (opening
> credits, when we first see the enterprise, etc...) is FAR too present, and
> particularly in scenes where the Enterprise and her crew are NOT the focus
> of the action (notably during the destruction of the Romulan vessel at the
> end).

> There are many fine bits of scoring int he film, I don't anyone to think I
> hate the whole score or how it is inserted into the film. But there are
> far too many moments where the music is too "pompous" and
> cartoonish.

> Add to that the orchestration has a tendency to a stale 2-dimensional
> style (very reminiscent of Hans Zimmer's orchestral style). There isn't
> enough actual orchestral counterpoint and the textures of the
> orchestration tend to be rather bland and repetitive, relying far too much
> on overly obvious devices (pounding drums, string ostinati, etc..).

> The moment where all of this comes to a final blow, is the closing
> credits. Superimposing Giacchino's music over Alexander Courage's original
> trek theme only serves to highlight how dismal the orchestration is and
> how 2-dimensional the harmony and thematic treatment are.

> I loved the film, so I would give the score a good rating purely because
> it is associated with a film I enjoyed.

> If I were rating this as a stand-alone score, it would get a failing mark,
> for all of the above reasons.

> AND your comments on the orchestration are completely spot on! It seems
> like his stuff has just been stale ever since he wrote that piece for
> Cloverfield. He writes music with one line that repeats from beginning to
> end (or very near to it) and, in The Incredibles, that was made
> interesting in certain cues by changing who was playing that line, what
> range the line was in etc. It seems to me that has been lost in his music
> ever since ROAR.

Blame Dan Walin for Michael Giacchino's recent scores being bland. Hes the recording guy for it. He dropped Steve Smith after Mercinaries. You could tell because Steve Smith initially mixed Mercinaries but Dan Walin came in after.

I thought that Alexander Courage's theme was a bit inappropriate for this flick. It was to tongue and cheek thought the movie is I would have loved Goldsmith's theme instead.

I'm not familiar with what "recording guys" do, exactly, so I'm not comfortable pointing the finger at them.
However, I do know what is involved with orchestration and that IS where I hear the difference in Michael's music. Just go to the Kronos track from The Incredibles. The section that accompanies Bob on the computer looking up the list of dead super heroes has one theme and a simple chord progression that would have been just horrendous, were it not for some effective rhythmic development and the themes getting thrown around to all kinds of different instruments. But then look at something like Labor of Love, which I think is the most beautiful track in the movie. There is an arpeggio line in the middle range of the high strings starting at about 41 seconds in. And it's just stagnant. I didn't hear any expression in that line, it didn't get passed around anywhere until it was lost in the cello section for a phrase or two, it wasn't changed in any way other than to fit the chord progression... That, to me, really took away from that section and there are many like it in many soundtracks of his (again, all I've heard has been from cloverfield on.)

So whether or not Dan Walin has anything to do with what's been happening to Giacchino's scores, I can't say for sure. But, the point I would like to make is that it's very very difficult for somebody to record music that is lacking to begin with and, again, I think it's the orchestration that has been falling short. But, no matter who is to blame, I hope that his situation improves and he keeps kickin' the music out because I think that he really has the potential to be among the best film scorers of this generation.

As for Alexander Courage's theme being inappropriate... obviously a personal taste thing. I love both themes. Probably Goldsmith's a bit more since I grew up with it and it would've worked well with this film since there was so much Goldsmith influence throughout the soundtrack. But I'll tell ya, I think the Courage theme is the best track on the whole recording. I dunno how I feel about Giacchinoo's material getting thrown in there between statements, but I could tell that Giacchino and all involved were REALLY enjoying themselves when they put it together and I feel that is really important.

Anyway, I hope I haven't confused, offended, or bored you to death with this. Just thought I would be certain that I was clear in what I was saying.

Happy listening.

> Blame Dan Walin for Michael Giacchino's recent scores being bland. Hes the
> recording guy for it. He dropped Steve Smith after Mercinaries. You could
> tell because Steve Smith initially mixed Mercinaries but Dan Walin came in
> after.

> I thought that Alexander Courage's theme was a bit inappropriate for this
> flick. It was to tongue and cheek thought the movie is I would have loved
> Goldsmith's theme instead.