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The style of the Jackman's work for Big Hero 6 is more heavily orchestral than in some of his other animated ventures, though for casual listeners, the vibrant electronic and pop influences will still seem dominant. He starts heavily on the electronic side of the equation, "Hiro Hamada" rotating through all the keyboarded and electric guitar coolness that Japanese stereotypes have to offer, including some token Taiko drum pounding to ensure the cultural connection. Thereafter, the synthetic elements are not as dominant, Jackman relying upon the orchestra and choir to supply the bulk of the score's momentum while the electronics are notable but not frequently distracting accompaniment. In fact, the mix between organic and synthetic in this work is quite well handled, even if the constantly upbeat tone is at times obnoxious. There isn't as much creativity in instrumentation on display here compared to Wreck-It Ralph, a choice that makes the whole easier to digest on album in this case. Thematically, Jackman devises several ideas, led by one for the boy genius, and is loyal to them throughout the score; his adaptation of these melodies for the tender family moments (which are plenty in the film) often includes effective solo piano work. Look for the franchise's primary identity to extend out of the rousing interior of the long cue, "Big Hero 6." Collectors of film music will appreciate (hopefully) the many cross-references that this score makes, whether intentional or not, in what could be a tongue-in-cheek choice. Whereas Jackman was roundly criticized for not explicitly channeling Alan Silvestri in his score for Captain America: The Winter Soldier, he certainly does so here, the many action sequences reminiscent of classic Silvestri adventure and "So Much More" taking a page or two directly from Back to the Future. Other references abound, from the Bernard Herrmann tribute at the start of "The Masked Man" (the villain's theme, essentially) to a quotation of the main brass motif from Don Davis' The Matrix at 3:07 into "I Am Satisfied With My Care." These highlights of the score are mostly orchestral in their mix, and Jackman's best achievement in the work is the soaring mix of brass, choir, and electronics in the awesomely entertaining "First Flight." This isn't to diminish the electronic presentation of the boy's motifs, for "Upgrades" and "Reboot" both have their charm as well. The entire package is well handled by Jackman, with a solid narrative and a listening experience on album that is easy-going and affable. That assumes you can handle the flashy electronic presence in parts, however. The album unfortunately does not contain the instrumental recording of "Eye of the Tiger" heard in the film, but it is otherwise a winner in its genre.  ****   @Amazon.com: CD or Download

Bias Check:

For Henry Jackman reviews at Filmtracks, the average editorial rating is 2.75 (in 16 reviews) and the average viewer rating is 2.7 (in 5,163 votes). The maximum rating is 5 stars.

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