I've read quite a few reviews of the film, and if they mentioned the score, (which they usually did) it was always with positive comments regarding the music. I'd like to know where these reviews are Christian is referencing.

Oh, and don't worry Zimmer fans....unless you're some The Rock fanboy whose attention span was maxed out with The Thin Red Line, Tears of the Sun is a dark, oppressing, intense experience, one which I think has far more cohesion than what Christian says. The track "Carnage" itself should give any gun-toting navy seal nightmares...if only from it's unreal transitional contrast.

I think Christian is missing the point that style isn't a bad thing, it's only Zimmer and his pals have created a very unique and expansive musical vocabulary which is not at all your usual generic film music. I wonder, do you mean that Zimmer should cut down on his highly evolved style and score films more like how most hollywood composers do? I think your arguments should be explained a little further.

Don't get me wrong...it's a good review. But I've been reading your reviews of Zimmer scores for close to 5 years now and you always seem to make the same complaints about Zimmer's scores being too stylistic. I can't help but wonder if it's not so much you have a truly critical argument for Zimmer's unique style and methods or that your own personal dislike for them is clouding your judgement as a critic. It's fine if you simply don't find so much to like about his scores, surely I can't hold that against you. I just have found this pattern over the years, and being such a fan of Zimmer's music as I am I can't help but speak up

Well, sorry to dump it all out here....but thats what this comment section is here for, eh?

Nate

I thought that the review was wrong on many things, but I guess that if you haven't seen the film, the music is pretty hard to grasp.

I can'T agree on the fact that the music is bad for the film and I as well have not find "from the reviews I've been reading anyway" a single bad review about the music in the film. It works wonders for this good film.

Another point it that I don't find that you can hear that much of a difference between each tracks.. Christian said that all the tracks didn't really flow togeter right? I think they are perfect and explains the film it's natural order, but then again, you really have to have seen the film.

I say the music is completly original "something you cannot say about half the composers out today" and very good. I of course recommend it to anyone.

Daren

For more on this go to: www.filmscoreventures.net

> I say the music is completly original "something you cannot say about
> half the composers out today" and very good. I of course recommend it
> to anyone.

> Daren

I wouldn't normally interfere among Hans Zimmer's fans but I dare disagree on this point made as you address wide-range of film music fans, Daren.
I happened upon this score by chance in my friend's CD collection a week ago and made an MD copy of which he approved. First off, I would not shed blood for Hans Zimmer's soundtracks, please note that, though since I liked Gladiator and absolutely love Crimson Tide I thought it couldn't be any of a trash fish as long as even Lisa Gerald and M were on the board. It's a good score, much much better than Thin Red Line and Pearl Harbor on my ears. But I still find this score to be too "Zimmer-pure" to be blithely recommended to non-Zimmer fans on the same level as Prince of Egypt or The Lion King could be. Hans Zimmer's music is considerably peculiar on its own, evident more than glaringly on this one score, yet hugely personal, something casual (again non-Zimmer) fans should be aware of before purchasing this item. Your recommendation even could cause a disappointment upon inveigled fans who already consider "buying without making sure..."

Roman.-)

First, I will admit I have not seen the film, and thus am evaluating the album based solely on its own merits. That said, I thoroughly enjoyed the album, and personally find it to be one of Zimmer's better efforts. Nate does have a point, I think, about Christian simply not caring for Zimmer's style. I have posted previously about Christian's personal dislike towards Zimmer's music (and anything that sounds similar). All that said, I do think Christian did a good of job of reviewing the album, even though I might disagree with a few points. (After all, its impossible to review a piece of art and not state your own opinion on it).

Something I've noticed is that Zimmer's style seems to be a "love it or hate it" kind of thing (disclosure: I'm in the "love it" camp). I could go for a while on why, but I'm not. Short version: I think Zimmer is the most mis-understood composer working today, and gets both the credit and blame for things that aren't really his doing. Lately, he seems to be acting more like a "music director" than an actual composer, which in and of itself is a talent, but tends to cloud the waters a lot on how much we should credit or blame him for the end result.

> First, I will admit I have not seen the film, and thus am evaluating the
> album based solely on its own merits. That said, I thoroughly enjoyed the
> album, and personally find it to be one of Zimmer's better efforts. Nate
> does have a point, I think, about Christian simply not caring for Zimmer's
> style. I have posted previously about Christian's personal dislike towards
> Zimmer's music (and anything that sounds similar). All that said, I do
> think Christian did a good of job of reviewing the album, even though I
> might disagree with a few points. (After all, its impossible to review a
> piece of art and not state your own opinion on it).

Agree.

> Something I've noticed is that Zimmer's style seems to be a "love it
> or hate it" kind of thing (disclosure: I'm in the "love it"
> camp). I could go for a while on why, but I'm not. Short version: I think
> Zimmer is the most mis-understood composer working today, and gets both
> the credit and blame for things that aren't really his doing.

Agree.

Lately, he
> seems to be acting more like a "music director" than an actual
> composer, which in and of itself is a talent, but tends to cloud the
> waters a lot on how much we should credit or blame him for the end result.

Very true...at least he is a musical director who credits everyone who he works with, with Tears of the Sun being the most vivid example yet. Look at the back cover, and even one of the track titles has credits built in!

Nate