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| Tyler |
Now You See Me: Now You Don't: (Brian Tyler)
Perhaps the greatest trick of all for the Four Horsemen of the
Now
You See Me franchise is the box office success for its movies
despite perpetual critical skepticism. While the films are rarely
described as any form of high art, they have an immensely loyal
following due to the allure of the magicians' trade and the characters
that bring it to life. After a long break, the franchise returns in 2025
with
Now You See Me: Now You Don't, and production immediately
commenced on a fourth picture. The group of magicians from the initial
two films is reunited when a younger alternative conducts a heist during
a magic show that steals the money of a wealthy and corrupt asshole, a
trick reminiscent of what happened to Michael Caine's character with the
real Horsemen. The new and original Horsemen combine forces to target a
massive diamond called "the heart" from the head of a South African
mining company, leading through perpetual chasing and deception until
the obligatory staged show of magnificence at the end that shows the
villain being duped in front of a live audience. The concept achieves a
number of goals in the third film: combine the two women that were
separately part of the Horsemen in the prior films, write out Morgan
Freeman's role (or is that for real?), and introduce a new generation of
magicians who will eventually replace the older favorites. With the
character base increasing in size, there was an opportunity for composer
Brian Tyler to provide an evolved identity for the third film. The only
major crew member to have survived all three films, Tyler found his
groove with 2013's
Now You See Me and excels in this blend of
action and jazz, allowing him to perform alongside his ensemble with
more retro sophistication than he normally can in other assignments. His
music has become a vital part of the franchise's success; not only does
it seem to inspire the most enthusiastic recordings from him, but his
style of writing happens to match the subject really well. The second
score in 2016 largely recaptured the likeable personality of the
original work, and the third entry is similarly fashioned but with a few
twists.
The tone and style of Tyler's approach to
Now You See
Me: Now You Don't are familiar, the jazz elements all reprised from
the prior scores. The orchestra is well handled, with some really
creative overlapping lines and several outrageously fun outbursts of
rhythmic or melodic suavity. Brass is, as usual, a snazzy highlight when
it's allowed to flourish. The equation is altered this time, though, to
infuse a greater amount of synthetics into the fold, perhaps as a
representation for the new Horsemen allies or perhaps because the
composer couldn't help but bring a little
The Fast and the
Furious franchise tones into this score because of the associated
auto racing aspect in this story. The electronic embellishment in this
entry is sometimes easily palatable while at other times mediocre,
outright electronic dance beats intruding more than needed.
Additionally, Tyler's drum kit is mixed too far forward this time,
nullifying the retro ambience that favors live recordings without overly
emphasized percussion. An element like the string bass can get swallowed
up when such an imbalance starts to creep in. Still, though, there are
some excellent, smirk-inducing moments of sheer joy that emulate the
attractive portions of the prior two scores, and listeners will be happy
to hear all the first film's theme reprised in this one. The "Now You
See Me" suite is an outstanding presentation of most of the first
score's themes, and "Now You Don't" summarizes the main new identities
for this movie. As a pair, these six minutes provide a great overview of
the work as a whole. Most enthusiasts of the franchise will be looking
for the presence of the returning themes, and Tyler does not disappoint.
Very well manipulated in
Now You See Me: Now You Don't is his
main theme for the Horsemen, the anthem that has represented the whole
concept and the magicians' success from the start. Joined by a
three-note rhythmic descent with a stylish five-note hiccup every few
bars, this idea was originally defined in "Opus NYSM" in the first
score, and it is exercised very well here. Its rhythmic formations
receive extended treatment with choral hints of the melody at the outset
of "Now You See Me" before the theme returns in full at 0:48.
The "Now You See Me" suite performance in
Now You See
Me: Now You Don't isn't as memorable as the equivalent in
Now You
See Me 2 but is still quite attractive and layers the various themes
nicely. Together, the rhythm and theme return over synth pulse in the
mystical vocal mode late in that suite arrangement. The rhythm alone
connects the new main theme in "Upstaged" to the existing material, and
the melody proves triumphant for the whole ensemble at 1:31 with
finger-snapping coolness. Dramatized with new harmonics in revelatory
fashion throughout "Through the Looking Glass," the original main theme
enjoys a full rendition a minute into "One Night Only" against the new
primary theme, its rhythm dominating in the second half against that
fresh material as well. The rhythm opens "Upstage Boogie" with force and
returns late in "The Great Escape," contributing to "A Twist in the
Tail" as well before the melody joins at that juncture. Again, the
rhythm underpins two other themes early in "Projections," proving its
usefulness as a broader point of connectivity in the franchise. The
theme turns humorously Italian for a touch of parody in "Who Nose" but
shifts to its action mode in "The Horsemen Return" and "Every Good Trick
Has a Twist." Lightly dramatic and restrained in "History Lesson" until
a full outburst, this legacy theme's rhythm itself becomes an action
force at 3:04 into "Every Good Trick Has a Twist." Tyler reprises its
rendition from first score's "Paris Epilogue" in "The Eye Always
Watches" (a quick use of this material had also existed near the end of
"One Night Only"), and only the chords are mostly prevalent here, a
disappointing loss of the narrative despite the comfort of hearing the
earlier cue reprised mostly intact for a minute or more in almost
identical form. The composer provided two ambitious, caper-oriented
themes to the franchise in 2013, and both survive in this sequel, the
primary caper identity the only one with extended, obvious treatment.
That theme is responsible for the "larger than life" element of the
magic shows and other displays of capability by the Horsemen, and its
jazzy, opening nine-note phrase with retro stylings exudes confident
swagger. It was originally defined in "The Team" from the first
score.
The primary caper theme from the franchise appears as an
interlude to the main theme at 1:12 into the "Now You See Me" suite and
teases on string bass at 0:35 into "One Night Only" against main theme's
rhythm. It's rhythmically forceful at 0:53 into "Upstage Boogie,"
briefly factors at the conclusion of "Life of Magic and Mystery," and
tussles with the new identities in the middle of "A Twist in the Tail."
Its presence becomes more prominent from there, applied at 0:19 into
"Projections" against the main rhythm and Eye theme and becoming an
action anthem in the second half of "Inversion," supplying a great
closing to that sequence. The caper theme's underlying rhythm opens "Up
is Down, Left is Right" but is slow and robust on brass at 3:15 at
"Every Good Trick Has a Twist" and regains a hip posture while informing
"Shoot the Car." The second caper theme from
Now You See Me is
the more determined and rhythmically unrelenting representation of
victory, originally defined in "Now You See Me" from the first score.
Don't look for wholesale retreads for this idea here, but it does
factor. A variant explodes in major mode greatness at 1:50 into "Now You
See Me," and it rips in between the other themes at 1:34 into "One Night
Only," offering a sense of wonder at 3:28 in that latter cue. The
secondary caper theme helps guide some of the action in "The Great
Escape," blows up at 2:29 in full force against fragments of the new
main theme, and helps inform the action in the latter half of "The
Horsemen Return." Prevalent in this score is the theme for the
organization known as The Eye. This meandering, nine-note mystery motif
was best heard in various places in the second score, and here it's
tossed into a subtle background position at 1:30 into "Now You See Me"
before a more obvious placement at 2:02 as a transitional bridge before
closing the suite. Barely hinted near the snazzy start of "One Night
Only," this elusive identity again teases at 0:48 against the new main
theme's phrases, followed by a brief reminder at 0:14 into "Upstage
Boogie" and ending that cue. It later closes "The Great Escape," extends
out of the first caper theme in "Projections," and is altered at the
start of "Inversion" on a seemingly electronic celesta. Abbreviated and
reharmonized at 1:41 into "Up is Down, Left is Right," the theme assumes
its final duties at 1:01 into "The Eye Always Watches."
Also returning from
Now You See Me is the theme
for Freeman's Thaddeus Bradley character, but its role is understandably
limited. Using ascending and descending five-note phrases lightly
plucked for intrigue and joined by descending three-note phrases of
slight dread, this theme was originally defined in "The Mystery of
Thaddeus" from the first score. Its only significant usage in the third
film comes during the first minute of "The Vandenberg Family." Far more
interesting is Tyler's all-new main theme for the story of
Now You
See Me: Now You Don't. Anchored by a five-note phrase that is often
reduced to its final three notes, you hear this idea for everything
related to the plotline involving the new characters and their plight to
steal the massive diamond. The devious maneuvering around key by the
three-note portion sounds like a David Arnold villain construct, but
Tyler then offers a great secondary phrase that is heard several times
but perhaps not obviously enough. This theme receives more synthetic
embellishment than prior identities, starting with its suite
arrangement, and some listeners may be turned off by its harshly modern
backing at times. Developed extensively in "Now You Don't," where it
builds out of the spirit of the newer caper material in
Now You See
Me 2, this theme debuts at 0:08 on cellos as part of a longer phrase
but focuses at 0:43 on violins before repetitively occupying broad brass
at 0:55 and 2:17. It takes on a heavily synthetic personality in the
middle of the suite cue, though its rousing secondary phrase thrives at
2:24 and 2:40, ensuring that the element of style isn't lost. This new
main theme victoriously steps forward in the first minute of "Upstaged"
and is given a touch of glamour early in "One Night Only," in which it
is counterpoint to main theme's glory. In that cue, the secondary phrase
has confidence at 1:29 and sophistication at 1:58 while the main phrase
stews in its second half. With flair, the theme continues toying with
the lightly jazzy realm in "Photoshoot" with a touch of mystery, its
secondary phrase at 1:06 and 1:35 adding allure to the deceptive
atmosphere and both phrases expressing a definitive exclamation to close
the cue. It's cool at 0:38 into "Upstage Boogie," helps guide the burst
of action in the middle of "Life of Magic and Mystery," and excels in
caper mode during "The Pickup" with the secondary phrase in tow several
times. Slight late in "Projections," the idea overtakes the silly
atmosphere in "Who Nose."
Tyler's new main theme for
Now You See Me: Now You
Don't develops widely in the score, opening "The Horsemen Return"
repeatedly, interrupting the established material at 1:01 into "Up is
Down, Left is Right," and offering some brief drama to "History Lesson."
It contributes reminders to the rambling action of "Every Good Trick Has
a Twist" and transforms in brassy action mode at 1:22 into "The
Principles of Escape" and continues throughout that cue. Joining this
idea is the composer's associated theme for deceit, which seems to
double for the villain and her activities as well. Formally consisting
of a seven-note sequence of staggered presence and sometimes reduced to
three-note phrases, this opaque identity espouses ominous intent,
eventually extending in multiple directions and often leading directly
into pieces of the new main theme. It's plucked and chopped several
times in "Now You Don't" but not as obvious as it needed to be,
continuing its vague posture at 2:06 into "One Night Only." The deceit
theme explores more of its boundaries at 1:21 into "Photoshoot" and
extends out of the new theme at 0:56 into "The Pickup," adopting its
secondary phrase. After menacing on low tones in the thick villain
atmospheres of "Priceless," the idea is more extroverted in the middle
of "Inversion," teases in the second half of the first minute of "The
Horsemen Return," and casts a shadow in the latter half of "Up is Down,
Left is Right." Finally, it's slight in the middle of "Every Good Trick
Has a Twist" and provides its glum shades a minute into "The Principles
of Escape." Also new to this score is a slate of mystery-oriented
material from Tyler, including a sequence of six-note phrases of
high-class tact that sounds like a leftover from Nathan Johnson's
Glass Onion: A Knives Out Mystery. Lightly humorous early in
"Even the Rooms Are Tricks," this mode loses its sheen in "Life of Magic
and Mystery," factors in the middle of "Projections" and late in "Who
Nose," and slowly replaces the Thaddeus material in "The Vandenberg
Family." Overall, the new material is expertly intertwined with the
older themes, but the result only occasionally sustains greatness.
Because Tyler frontloads his best cues up front, the album for
Now
You See Me: Now You Don't expends almost all of its highlights in
its first half. The remainder loses melodic focus, an action cue like
"Room Service" not as satisfying; the narrative becomes a bit lost in
these portions, unfortunately. In the end, the score may be a lesser
sibling compared to the other two but is still a whole lot of fun when
it cooks, and it offers more than enough snazzy material to add to its
predecessors on a compilation.
**** @Amazon.com: CD or
Download
| Bias Check: |
For Brian Tyler reviews at Filmtracks, the average editorial rating is 3.22
(in 42 reviews)
and the average viewer rating is 3.11
(in 21,143 votes). The maximum rating is 5 stars.
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