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Buy it... |
if you can be satisfied with a dull but sufficient extension of the basic war genre sound you
heard in The Hunt for Red October, in this case bracketed by a ridiculously transparent
primary theme of heroic bravado.
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Avoid it... |
if you seek an engaging score with any truly intelligent, fresh constructs or dynamic
performances from orchestra and synthesizers, elements that you often find well balanced in
Basil Poledouris' works but not here.
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| 2/19/13
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Congo (Jerry Goldsmith)
- Updated Review, With Additional Album |
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Buy it... |
only if you regularly appreciate every variant of Jerry Goldsmith's jungle-related
compositions of the 1990's, even if that material strays towards mundane and anonymous
reflections of ideas better developed in its peers.
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Avoid it... |
if you expect this score to exhibit the same spirit, enthusiasm, energy, or sustained thematic
integrity of The Ghost and the Darkness or Medicine Man.
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| 2/15/13
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Othello (Charlie Mole)
- All New Review |
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Buy it... |
if gloomy, depressing scores of exotic and orchestral beauty feed your hunger for tragic
melodrama, Charlie Mole's first major career score an essential entry in any collection of
music for Shakespearian adaptations.
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Avoid it... |
if the resounding elegance of deeply brooding film music has no place in your otherwise bright
and cheery life.
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Buy it... |
if you have always appreciated Trevor Jones' knack for engaging melodies, that trademark
yielding some striking orchestral and hard rock highlights in Kiss of Death.
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Avoid it... |
if you seek interludes of unfettered awe or beauty in your Jones scores, emotional appeals not
possible in this rather gloomy and gritty suspense work.
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Buy it... |
if the most ambitious ensemble ruckus from Dark City has always impressed you, that sound
reflected to a greater degree in the action highlights of this score.
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Avoid it... |
if you rely upon the dominance of themes in Trevor Jones' music to sustain your interest, for
his two main identities for this work are not spectacular and take a while to develop.
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