Jackman's involvement with The Winter Soldier has stirred up some controversy in the film music world because of a few of his choices of methodology, procedural operations that some listeners will equate with the downside of Zimmer's mannerisms. For instance, Jackman not only dumped the previously existing thematic ideas for the franchise, but he wrote a suite of material inspired by the titular villain with which to impress filmmakers ahead of time, in essence emulating Zimmer's "hype process." Part of his sales pitch to the directors also included the pushing of the envelope in sound design, taking Zimmer's "one note theme" idea from The Dark Knight and shifting its equally manipulated synthesis into a minor-third two-note alternative in this case (much like, ironically, Zimmer's Batman theme) and altering the electronic tone of the theme to give it a more plaintive and bird-like cry. This wailing sound is really the only true innovation Jackman concocts in The Winter Soldier, and one could easily argue that despite the brainwashed aspect of the character it represents, the theme completely misses the still-human side of that same character. The remaining production design in the score is derivative of other Remote Control scores, the ambient cues in The Winter Soldier failing to maintain interest more often than not. This score has come under extreme scrutiny from film music reviewers because of these issues above, not to mention the odd abandonment of the Silvestri theme for the character that has appeared in multiple prior Marvel films. The lack of the theme in Jackman's entry is especially curious given that not only did he create a lesser emulation of it on his own, but the filmmakers actually tracked in existing performances of the Silvestri theme into the finished product. The alternative Jackman wrote is only barely sufficient in evoking the same patriotic emotions, something of a subdued variation on the same instrumentation and progressions. A cue such as "The Smithsonian," an obvious outlier given its placement in the film, required nothing more than Silvestri's theme softly in the background; no half-assed imitation, even as soft and reverent as it is, was necessary. Granted, Jackman does his best to infuse his own theme for Steve Rogers throughout the score, with a few nice orchestral performances, but they remain oddly conceived.

There is one area in which the backlash against Jackman for The Winter Soldier is misguided, and that is in the "obnoxiousness factor" of the work. There are a few insufferable cues in this score and anchoring its album, "The Winter Soldier" representing the early demo of the villain's theme. But this material is not prevalent in the score, and even the villain's theme, if you simply ignore that demo, is much better fleshed out in a cue like "The Causeway," including even the obligatory foghorn-like, whole bass notes on brass and Man of Steel-like percussion that will cure erectile dysfunction for some RC-inclined listeners. Associated with that theme is a long tone with a rising pitch and volume that closes "The Causeway" and opens "Fury," and this represents the worst of the electronic manipulation in the work. Add these cues to "Lemurian Star" and you have the bulk of the intolerable music overall. If you subtract these 15-20 minutes from the score, you realize that more than upwards of three-quarters of its length alternates between the mostly orchestral and ambient cues. Indeed, a long cue such as "Hydra" is a waste of time, but unlike "Fury," a person could still eat a mustard-drenched corndog to it without becoming nauseous. Other lengthy cues of ambience are typically more organic, something like "Alexander Pierce" even pensive in its woodwind application while "End of the Line" pauses for some piano-led contemplation. These moments prove that The Winter Soldier really is a well-rounded score instrumentally, utilizing a full orchestra that, for some, may be overwhelmed by the electronics prominent in a few comparatively rough cues. The moments of nobility do not shy away from the trumpets, and Jackman's alternative to Silvestri's theme, while unneeded, is sufficient at its task. Its performance at the outset of "Project Insight" is actually a modernization of the brazen Silvestri tone to suggest Brian Tyler shades. Jackman reprises the theme in satisfying fashion several times, ranging from the fuller development in "Taking a Stand" to a single crescendo of heroism at the end of "Time to Suit Up." It's interesting to ponder his concluding "Captain America" rendition of this theme; after the hapless electronic manipulations midway through, the cue finishes with several minutes of straightforward heroic statements of the theme, finally aided by choir. The only downside to this recording is its slow fade out rather than definitive resolution, a lazy conclusion reminiscent of pop songs from long ago.

There are enough nagging issues with The Winter Soldier beyond the obvious detractions to merit a negative rating. The orchestration is rather lousy and there is no secondary thematic development in "Natasha" or elsewhere for other characters. The album suffers from poor equalization of volume and a pair of source cues that have absolutely nothing to do with the score. But, all things considered, the score isn't as awful as some may claim it be. If someone is to become distraught about the state of modern film music production, whether you aim for the filmmakers or the composers, you have to look at the entire Marvel series of films and lament their inconsistency as a whole. A cue like "The Smithsonian" proves that Jackman is actually more cognizant of his place in the franchise than some of other composers who have taken a stab at these films. The need to dazzle filmmakers with some radical new aural creation for a particular film's villain is a concept popularized by Zimmer and being picked up by others expectedly. Who can really fault Jackman for whipping up such a suite of bizarre ideas ahead of time for a concept? After all, he may only want to have the ability to donate tens of thousands of dollars to American political causes just like Zimmer if he so chooses. Until larger reforms of the industry occur, the methodology of shock value is here to stay. Why is that? Cops and car chases. It started when American television became obsessed with watching other people screw up, preferably on live feeds. When "Cops" and "Jerry Springer" weren't enough, then it became live car chases on Fox. Then it evolved into entire shows like "Caught on Camera," "When Animals Attack," and "Explosions Gone Wrong." Sensationalism rules the day. And tomorrow's sensationalism has to be even more sensational or it won't make the cut. The explosions have to be bigger, the girls fighting on camera have to be nastier, and the implications have to be scarier. Film music is no different. Silvestri is too wholesome for filmmakers looking for the next most shocking attraction. If the lesson of live television is learned, then Jackman's grating, electronically-defined identity for the villain in The Winter Soldier is only the natural evolution of society's yearning for the biggest and baddest new coolness. Nostalgia be damned. So before you lament where we are, remember how we got here, and perhaps a score like The Winter Soldier, while truly unfortunate historically, is absolutely nothing other than the expected outcome. Count your blessings: at least Jackman made significant portions of it tolerable. Boring is often better than obnoxious.  **   @Amazon.com: CD or Download