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The Texas Chainsaw Massacre (Steve Jablonsky) (2003)
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Average: 1.6 Stars
***** 42 5 Stars
**** 62 4 Stars
*** 97 3 Stars
** 224 2 Stars
* 841 1 Stars
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Awesuum Movie
RObert BenneTT - December 5, 2005, at 9:35 a.m.
1 comment  (2240 views)
Good new movie, not so good new score
Roachamatic - November 18, 2005, at 5:53 a.m.
1 comment  (2421 views)
Jablonsky with a chainsaw
Queen Williams - September 23, 2005, at 10:00 a.m.
1 comment  (2255 views)
Song At The Beginning And End Of Movie
JustMe - February 11, 2005, at 3:15 p.m.
1 comment  (2266 views)
Song
L - January 13, 2005, at 11:28 a.m.
1 comment  (2158 views)
pathetic movie, but is the score any good?
greg - September 16, 2004, at 2:55 p.m.
1 comment  (2085 views)
More...

Composed and Co-Produced by:

Co-Produced by:
Ford A. Thaxton
Audio Samples   ▼
Total Time: 50:25
• 1. Leatherface (2:45)
• 2. He's a Bad Man (4:02)
• 3. Erin and Kemper (1:07)
• 4. Hewitt House (1:09)
• 5. Driving with a Corpse (1:24)
• 6. Kemper Gets Whacked/Jedidiah (1:56)
• 7. Crawford Mill (1:50)
• 8. Interrogation (3:50)
• 9. Andy Loses a Leg (1:41)
• 10. You're So Dead (3:33)
• 11. Hook Me Up (2:40)
• 12. My Boy (3:15)
• 13. Morgan's Wild Ride/Van Attack (4:35)
• 14. Mercy Killing (2:59)
• 15. Prairie House (3:13)
• 16. Final Confrontation (5:25)
• 17. Can't Go Back (3:55)
• 18. Last Goodbye (1:00)

Album Cover Art
La-La Land Records
(October 21st, 2003)
Regular U.S. release.
The insert includes detailed notes about both the score and film.
Filmtracks Traffic Rank: #213
Written 1/2/04, Revised 3/16/09
Buy it... only if you were captivated by the music in the film, because this score is among the worst of the 2000's in any genre.

Avoid it... if you are tired of uninteresting, droning, and generic horror underscores that accomplish nothing unique in comparison to the hundreds of other low budget efforts just like it.

Jablonsky
Jablonsky
The Texas Chainsaw Massacre: (Steve Jablonsky) When a survivor of the famous mass murder case stepped forward in the early 2000's to update the public's morbid curiosity about this true historical event, producer Michael Bay decided to bring another "inspired by" version of The Texas Chainsaw Massacre to the big screen. The August, 1973 killing spree left over thirty people dead, and the film follows the story of five particular youths who stumbled upon the famed Hewitt house and encountered Leatherface, the chainsaw-wielding butcher who wore his victim's flesh and was supposedly gunned down eventually by police. All around, it's one of those grim situations that begs for continued teenage horror flick treatment, and this one sold itself beyond all of the others by roughly following what it deemed a true event. The director of the project, Marcus Nispel, made it clear from the start that he wanted a score that was "dissonant, atonal, subliminal, and disturbing," not to mention that it had to be written and recorded in a very short time period and was to be restrained to a very small budget. Enter Steve Jablonsky, a composer who hadn't experienced the solo composition credit spotlight to any great degree. But he did have extensive experience in the house of Media Ventures, and if there was ever a time to mention the dreaded Media Venture lawsuit that was under way between its co-founders, Jay Rifkin and Hans Zimmer, this would be that time. Jablonsky was, in short, the poster child for everything sinister about the "ghostwriting" industry in Hollywood. Some say that receiving credit for assisting another composer in small print nullifies the "ghostwriting" descriptor, but when that mainstream composer uses such help so often that it completely dilutes his music (while maintaining his name solely on posters and album covers), there is no better term to employ. Jablonsky had written "additional music" for everything from Armageddon and Chicken Run to Pearl Harbor and Hannibal. He even played his part in the logistical nightmare otherwise known as Pirates of the Caribbean: The Curse of the Black Pearl. When film music industry insiders made noise about the ghostwriting problem in Hollywood during this era, they were referring to puppets like Jablonsky who write a lot of music (not all of it fantastic by any means) but get very little recognition for it.

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