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Review of Out of Time (Graeme Revell)
FILMTRACKS RECOMMENDS:
Buy it... if you have an open mind about attractive Cuban rhythms
and a slight touch of jazz in a highly stylish, percussion-driven
score.
Avoid it... if you are only interested in hearing a Caribbean band when you're on the decks of a Caribbean cruise liner.
FILMTRACKS EDITORIAL REVIEW:
Out of Time: (Graeme Revell) One of the early
hopefuls for dramatic films seeking awards consideration in the autumn
season of 2003, Out of Time is the complicated tale of an
investigation by Denzel Washington's character into a local homicide. As
the respected chief of police in a small town in the Florida Keys, the
mystery of the investigation continues to build as more of the clues and
evidence in the case point at himself. The tired, predictable plot of
Out of Time was its greatest enemy, with fallacies of logic
abounding in so many places that the film will leave you dumbfounded if
you're still awake by its conclusion. Washington's solid acting couldn't
compensate for a comatose supporting cast, though due credit from
critics was given to the production for its exotic photography and
ethnically stylish score by composer Graeme Revell. Director Carl
Franklin had rotated between several composers (from Cliff Eidelman to
Elmer Bernstein) for his ten films to that point, and for Out of
Time, he continued his collaboration with Revell following the
previous year's High Crimes. Revell had a productive, although
somewhat disappointing year in 2003. His score for Daredevil was
too highly anticipated, and when combined with Freddy vs. Jason
that summer, Revell's output had been sufficient for each of his
assignments but underwhelming in quality. Fortunately, Out of
Time was a project that lead Revell down an entirely different genre
path. The setting of the thriller established a clear direction for the
mood of the score, and with the seedy half of the story inserting some
misplaced romance in the environment, Revell jumped at the opportunity
to fill the film with wall to wall ethnicity of alluring character.
Utilizing a combination of Latino, Cuban, and African rhythms and
instrumentation, Revell accomplished what was probably not necessary for
the film (the way Hollywood works, a film like this could very easily
have ended up with a lifeless, electronic underscore). The active
Caribbean spirit in Out of Time is a marvelous choice for the
film's musical identity, and despite the smaller size of its ensemble,
the end result fills the room with an enticingly diverse range of sound.
Drums, guitars, keyboards, bass, and trumpet are the heart and soul of
Out of Time, performing a snazzy title theme that swings with
several different Caribbean rhythms.
Revell effectively adapts elements from Latino, Cuban, and African pop music with slight touches of more traditional American jazz to produce a truly international score with a hint of noir sensibility. He removes the soft woodwind elements of the orchestra and keeps the strings and brass as only accompaniment for his Latino band. The authenticity with which Revell accomplishes the task of providing a convincing Latin environment is fantastic, especially when considering that he is a New Zealand native who grew up on the piano and French horn. In addition to the convincing composition, the performances in Out of Time translate it into a highly engaging and enjoyable listening experience. The majority of the score's tone is surprisingly relaxed, sometimes featuring a lazy trumpet solo that meanders in the distance, perhaps as a reference back to mysteries of the film noir age. These performances would make Terence Blanchard proud. The score does have its moments of troubled supporting material at lesser volumes, but never in a traditional, orchestral sense. Revell's drums and other percussion are always present, propelling the score and film at a continuously rolling pace of intrigue. These moments of suspense are really the only times during which the orchestral ensemble performs in full. Luckily, the statements of the attractive title theme (and its accompanying rhythm) are spaced throughout the score at regular intervals, always ready to spice up the listening experience just when needed. Revell's official main title theme performance features an acoustic guitar, while other performances offer enhanced mixes for the trumpet in one case and a keyboard in another. The underlying rhythms and drums may be the same, but the theme's infectious personality is so well natured that each variation in performance mix is a welcomed addition to the score. Piano solos, African sound effects on the synths, and an occasional female vocal round out the depth of the music. From start to end, Out of Time has style, and you can't help but love the ease with which this music flows between its components. It is mixed with an intimate, but slightly wet quality that would accompany this music if it were performed live in a club. Overall, it's one of the most entertaining listening experiences of 2003, and if only there was more substantial material behind the remixes of the title theme, Out of Time would be one of the best scores of the year as well. ****
TRACK LISTINGS:
Total Time: 39:03
NOTES & QUOTES:
The insert of the album (not to be confused with the famous R.E.M.
product of the same name) includes a list of performers, but no extra
information about the score or film.
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The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from Out of Time are Copyright © 2003, Varèse Sarabande and cannot be redistributed without the label's expressed written consent. Page created 9/29/03 and last updated 3/12/09. |
