Tag Archives: film

My Thoughts on: Transporter 3 (2008)

*warning, minor spoilers for Transporter 3

All too quickly I reached the end of the original Transporter trilogy with Transporter 3. Unlike the other two, I went into this one with a warning. I’d been told by more than a few people that I should avoid this film since it was a step down from Transporter 2. With that thought in mind, I dove in to the film…and was pleasantly surprised.

Perhaps I please far too easily, but I enjoyed Transporter 3. The action has moved back to Europe, Statham is on point as always, and this third entry presents a dangerous wrinkle to the “transport the package from point A to point B” premise that has defined the series. Namely, our favorite transporter has to deal with getting the job done with a powerful explosive strapped to his wrist (a matching one on the package as well), one that will detonate if he gets too far away from the car. It’s already been established that being a transporter is a dangerous occupation, but now Frank Martin has to do his job while being conscious at all times of his proximity to the car, because if he’s not careful he can go BOOM. It’s an ingenious plot device, because it’s easy to forget it until it becomes relevant and then you’re like “Oh sh*t the bomb!”

Another thing I liked about Transporter 3 is watching Frank deal with his latest “package” i.e. Valentina (Natalya Rudakova). In some ways, the interaction reminds me of the interplay between Frank and Lai in the original film (just with more conversation), as Valentina strains Frank’s patience to the absolute limit (a notable example being when she gets high right before a car chase ensues). But one part of the interaction between Frank and Valentina that bothers me is how quickly they appear to develop a relationship. Ever since I was clued in to how unrealistic this is, seeing this in a film has always bothered me. However, even though it does bother me, it doesn’t stop me from enjoying the film, which is otherwise really good.

One last thing that bothers me in this film is some of the things that Frank does with the car. Now, I admit I don’t know too much about cars, but to me it seems highly unlikely that a car could be made to run again (just like that) after falling into a lake. And the odds of a vehicle being able to land on top of a moving train…I know it’s a movie and all, but something about that scene bothered me, so I just wanted to mention it.

Even though this film is 11 years old, I would be more than happy to see Jason Statham play the role of Frank Martin again (let’s just forget the reboot ever happened). Let me know what you think about Transporter 3 in the comments below and have a great day!

See also:

My Thoughts on: Transporter 2 (2005)

My Thoughts on: The Transporter (2002)

Film Reviews

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook

My Thoughts on: Transporter 2 (2005)

3 Replies

I’ll admit to raising an eyebrow when I heard that Transporter 2 was considered by many to be superior to the original Transporter film. But after sitting down and watching it, I have to agree that those critics might have a point. Transporter 2 is a lot of fun to watch, and it definitely takes the action much farther than the original film did.

But admitting it’s the superior film? Hmmmm, I’m still not sure about that.

First let’s start with the basics: Transporter 2 goes the route of most sequels by putting a twist on the original premise. Instead of transporting packages for anonymous buyers, Frank Martin has been working for the last month as a personal driver for a family, taking their young son back and forth from school. It seems innocent enough, but given Frank Martin is involved in the situation, it doesn’t take long for things to go sideways.

One area in which Transporter 2 unquestionably excels is in the action. As great as the fight scenes in the original film are, they’re taken to the next level in this one. And some of the things that Frank does with that car of his just aren’t human (in fact, if I’m honest, at times it pushed my suspension of disbelief). No, in terms of action, Transporter 2 is a lot of fun.

Where I take issue with this film comes in the depiction of Lola, one of the main antagonists of the film. Lola is a completely psychotic gun-wielding killer, whose wardrobe is so scanty that it screams “mid-2000s fan service” from beginning to end. On one level, I get why she’s presented this way: the idea is that Lola is so crazy she just doesn’t give a f*ck and will dress however she wants, society be damned. But on the other hand, every time I see her this way it made me cringe. If I could alter one thing in this film, it would be her.

Other than that quibble, I suppose Transporter 2 really is superior to the original, except for that ending. I feel kind of bad for Frank in the end, but then I suppose he couldn’t be who he is if the film ended any other way. I also like how Inspector Tarconi is worked into the story. With the change of locale I didn’t think we’d see the dear inspector, but it worked out perfectly.

Overall, I enjoyed this film very much. Let me know what you think about Transporter 2 in the comments below and have a great day!

See also:

My Thoughts on: Transporter 3 (2008)

My Thoughts on: The Transporter (2002)

Film Reviews

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook

My Thoughts on: Aniara (2018)

Leave a reply

*warning: spoilers down below for Aniara. If you don’t want to know, stop now!

As one who specializes in science-fiction film, I’m always on the lookout for new entries in the genre. From the moment I saw the first trailer for Aniara, a Swedish film based on the epic poem of the same name, I knew this was a film I would need to see. While a theatrical viewing was unfortunately denied to me, I was able to pick up the film on DVD and I finally sat down to watch it last night. Ever since the credits began to roll, I’ve been struggling with how to start this review, but I think I’ve finally found a place to start:

Relatively early in the film, the captain of the Aniara (a super-large spaceship that reminds me in many ways of a cruise ship but in space) remarks that they’ve essentially made their own planet. Assuming he’s correct, if the Aniara is meant to represent humanity in microcosmic form, then humanity is well and truly f*cked.

I’ve honestly struggled with this type of film in the past; those stories that are built on the idea that when things go wrong humans lose their sanity and go tribal before perishing altogether (High-Rise is built on a roughly similar premise, albeit on a much smaller scale). But now, after watching Aniara, every last horrifying minute of it, I think I’m beginning to understand why and how this particular story came about. At one end, it does seem ridiculous for the passengers to behave in this fashion, but then again, there’s no telling what you might do if you learn you’re now trapped in space for the rest of your life. Furthermore, the passenger’s actions are meant to highlight the inherent failings in humanity in general. Humans can’t handle not being in control. Place them in a vulnerable position long enough…and it all goes to pieces, quite literally.

Words can barely describe just how depressing Aniara is. The film wastes little time in beginning the death spiral of however many passengers are now trapped on the ship. Even worse, much of what happens is left to the viewer’s imagination. We know at the start that the ship is full of people both very young, and very old, yet by the end of the film (when MR gets her medal), the population has decreased significantly. Where did they all go? There are hints throughout, most of them quite gruesome in nature.

All of that being said, it seems strange that all of this would start with something as small as a screw (or whatever small debris impacted the ship). If the story has one failing, it’s that the event that sets off the plot seems so…unbelievable. Even the captain calls it “something incredibly unlikely” and it just seems strange that such an advanced vessel could be damaged so catastrophically just like that. Where are the backups, where’s the reserve fuel? What space vessel keeps ALL of their fuel in one place? The only thing that bugs me more is why couldn’t the Aniara simply radio Mars for help? If humans have developed the means to establish colonies on Mars and travel there in less than a month, surely communication with the red planet was possible (or perhaps not, it’s possible I missed a detail). All I’m trying to say is, it almost feels like the Aniara is set up to fail from the start.

I’ll close by mentioning the one image that will stick with me for a very long time. At the very end of the film, the last we see of the Aniara is that everyone on the ship is long since dead (we’ve jumped millions of years into the future by this point). In a scene I’ll never forget, the air is full of swirling debris (the artificial gravity has long since failed) and detritus. The only sign that humans were ever onboard is a human jawbone spinning through the air. As horrifying as that image is, it speaks volumes as to the fate of humanity that Aniara wants to share. For all of our accomplishments, everything humanity has done, ourselves included, will one day return to dust, and ultimately that’s all we will be. That’s why I said at the start, if Aniara is humanity in a microcosm, we are f*cked indeed.

Let me know what you think about Aniara in the comments below and have a great day. If you haven’t been able to see it, be aware that there is an English language option available so you can watch without staring at subtitles all of the time.

See also:

Film Reviews

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook

Soundtrack Review: The Goldfinch (2019)

Leave a reply

The soundtrack for The Goldfinch is now available for digital purchase through WaterTower Music. The score for this film was composed by Trevor Gureckis, whose past scores include Brooklyn and Vice.

The Goldfinch is the film adaptation of Donna Tartt’s globally acclaimed best-selling novel, which won the 2014 Pulitzer Prize for Fiction and the Andrew Carnegie Medal for Excellence in Fiction. In the story, Theo Decker was 13 years old when his mother was killed in a bombing at the Metropolitan Museum of Art. The tragedy changes the course of his life, sending him on a stirring odyssey of grief and guilt, reinvention and redemption, and even love. Through it all, he holds on to one tangible piece of hope from that terrible day…a painting of a tiny bird chained to its perch. The Goldfinch.

Regarding the film, Trevor Gureckis had this to say:

“Writing The Goldfinch was thrilling not only because of the huge orchestral forces at hand, but also for the opportunity to explore rich textural details with the use of electronics in service of the story. There are moments of vivid impressionism in the orchestra, as well as tapestries of glowing and burning synth textures. A real turning point in figuring out this score, was when John Crowley realized we needed The Goldfinch to appear in the music itself, not just visually in the film. It would be our North Star. So, the opening cue sets the theme that returns in many different transformations depicting anything for the painting to Theo’s traumatized state of mind, as the two are so intertwined. Just like the painting of the bird chained to its post, this theme is suspended harmonically throughout the entire score resolving only in the final moments of the film,”

The soundtrack is very beautiful. I particularly enjoy the piano melodies that appear throughout the score. Having listened to so many scores that bombard me with rich, orchestral melodies, it’s a nice change of pace to hear something more delicate, and that’s definitely what this soundtrack is. It’s delicate, it’s intricate, and surprisingly moody at times (I haven’t read the book this film is based on, so my knowledge of the story is limited). It might be a bit too simple for some people’s tastes, but as I said before, sometimes a simpler score is just the thing for a film.

I’m not sure what the movie will be like, but the music shouldn’t be a disappointment. Let me know what you think about the soundtrack for The Goldfinch in the comments below and have a great day!

Tracklist:

The Goldfinch
Mrs. Barbour
Interrogation
Hobart and Blackwell
Goldfinch Reveal
Letter to Pippa
Theo’s Burden
Return to the Barbours
Lucius Reeves
Boris’ Father
Theo and Pippa
Las Vegas
Desolation
Civics Book
Amsterdam
The Story of the Goldfinch
Boris Rescues Theo
Beautiful Things
The Goldfinch Theme – Solo Piano
Currents – Solo Piano

See also:

Film Soundtracks A-W

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

Soundtrack Review: It: Chapter Two (2019)

3 Replies

*note: there may be potential spoilers in the few score cues I mention, so keep that in mind as you read this review

As the thrilling conclusion to It (2017) approaches in a matter of days, the soundtrack for It: Chapter Two has been made available for those who wish to hear it in advance of seeing the film. Benjamin Wallfisch, who also scored the first film, returns to complete the musical story he began telling two years ago. In It: Chapter Two, evil resurfaces in Derry as director Andy Muschietti reunites the Losers Club in a return to where it all began. Twenty-seven years after the Losers Club defeated Pennywise, he has returned to terrorize the town of Derry once more. Now adults, the Losers have long since gone their separate ways. However, people are disappearing again, so Mike, the only one of the group to remain in their hometown, calls the others home. Damaged by the experiences of their past, they must each conquer their deepest fears to destroy Pennywise once and for all…putting them directly in the path of the shape-shifting clown that has become deadlier than ever

Regarding the soundtrack, Wallfisch had quite a lot to say:

Andy [Muschietti] has created such an ambitious and extraordinary movie in IT Chapter Two, with an incredible scope on every level. One of our earliest discussions for the new score was how we could take what we did for the first movie and give it more scale and ambition – to reflect the scope of the film. To start with, we used a much larger orchestra and choir and also created several new themes; when we occasionally reprise moments from the first score, we re-recorded them with more complex and ambitious arrangements, like the music itself had gone through 27 years of maturing. But the most exciting challenge was how to develop the original themes and create new ones that fit alongside them. There was a lot more music required, which really allowed room for the original themes to develop and evolve in a way driven by the emotional complexity of how The Losers Club grapple with inner demons from the past and painful memories and ultimately unite to confront their biggest fears. Pennywise is even more vengeful and flagrant this time, and the music had to also reflect that increased darkness, whilst never losing sight of the adventure and emotion that are at the core of the movie. It was such a joy to reunite with my good friend Andy Muschietti to help bring this story home – the movie is a true masterpiece from the filmmakers and I’m so honored to have had the opportunity to be involved.

The soundtrack is, in a word, terrifying. Benjamin Wallfisch had a 100 piece orchestra and a 40 person choir to work with when putting this score together, and I assure you he used it all to great effect. If you follow me on Twitter, you’ll know that as a general rule I avoid most horror films, and the music (if done properly) is a big reason why. Wallfisch has filled the score with “jump” moments, where out of nowhere the music will surge up and almost literally snap at you. You can’t even relax during the “brighter” moments because there’s an undercurrent of tension and fear with almost every piece (“Losers Reunited” being an exception to the rule).

Musical jump scares aside, the part that freaks me out the most about this soundtrack is what Wallfisch has done with the choir (at least, I assume it’s the choir). Throughout the soundtrack, and without warning, there are sections where you hear garbled voices, kind of like if you were listening through a static-filled radio, and the voices all sound like they’re screaming in terror. Sometimes these voices act as their own music, sometimes they come in with music, but it’s without a doubt one of the most terrifying things I’ve heard in a soundtrack this year (and probably in the last few years if I’m honest).

And another thing that Wallfisch is doing in the soundtrack that really scares me is how he manipulates the violins throughout the score. This is something I’ve heard in a lot of scary movies; it’s a technique where a group of violins plays at their highest register and quickly increases in volume and pitch, ending with an almighty shriek that has you instinctively backing up against the wall, even though you know there’s nothing there (well, at least that’s what it does to me). I can only imaging the visual context for those moments, and given this is a movie with Pennywise in it, I’m afraid to find out the answer.

Benjamin Wallfisch clearly put a lot of work into this score, and if it’s this scary by itself, I shudder to think what it would be like to hear this music with the film it was written to accompany. If you liked the score for the first It, then you will love the music for It: Chapter Two.

Let me know what you think about the soundtrack for It: Chapter Two in the comments below and have a great day!

See also:

Film Soundtracks A-W

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

John Lunn talks Downton Abbey, Soundtrack Will Release Next Week

Leave a reply

Decca Records/Decca Gold has announced the upcoming release of the Original Motion Picture Soundtrack to the highly-anticipated feature film, Downton Abbey, scored by composer John Lunn. Composed in a similar style to the two-time Emmy Award-winning music from the series, the score is richly orchestrated, with the familiar title theme making an appearance throughout. In a throwback to the ‘Roaring Twenties’, upbeat jazz arrangements appear alongside lavish waltzes, reflecting the popular styles of the day.

The original television series first aired on PBS Masterpiece in the US in 2011 and has enjoyed six critically-acclaimed seasons. Downton Abbey is scheduled for cinematic release on September 13^th in the UK, and September 20^th in the United States. The film picks up where the story left off in the autumn of 1927, joining Lord and Lady Grantham and the extended Crawley family as they prepare for a visit from the reigning King George V. With a script by Julian Fellowes, original cast members including Hugh Bonneville, Elizabeth McGovern and Dame Maggie Smith star alongside new cast members Imelda Staunton, David Haig and Geraldine James.

Scottish composer John Lunn writes music that possesses a unique voice and spans a wide spectrum of musical styles. He received two Primetime Emmy Awards for his music for Downton Abbey, and two BAFTA nominations in 2012 and 2016. Other recent television work includes The White Queen (Starz), Grantchester (ITV), Shetland (BBC One), The Last Kingdom (BBC Two) and Jamestown (Sky). Lunn received critical acclaim for his scores for three BBC Charles Dickens adaptations: The Mystery of Edwin Drood, Little Dorrit, and Bleak House.

Lunn was the first choice to score the film and recalls when the project was first proposed:

“I was delighted to be approached to create the feature-length film score to a series which has had a huge impact on audiences and fans all over the world. At first it was like discovering a long-lost friend, but gradually I realized that we’d never really been apart; by the end it was just such a joy to revisit this material and have the opportunity to take it to a whole new level.”

Downton Abbey: The Original Motion Picture Soundtrack will be released by Decca Records/Decca Gold on September 13th, 2019.

Tracklist

1. A Royal Command
2. Pillar of the Establishment
3. Gleam and Sparkle
4. God Is a Monarchist
5. Two Households
6. Incident at A Parade
7. Sabotage
8. Maud
9. Honour Restored
10. Never Seen Anything Like It
11. Not Entirely a Bad Night
12. May I?
13. Taking Leave
14. Resolution
15. You Are the Best of Me
16. Sunset Waltz
17. One Hundred Years of Downton

Once it comes out, let me know what you think about the Downton Abbey movie and its soundtrack in the comments below and have a great day!

See also:

Film Soundtracks A-W

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

Iconic James Bond Locations Around the World That You Can Visit

1 Reply

James Bond is everyone’s favourite British spy. Since the first film in 1962 Dr. No was aired, the Bond fandom has grown year on year. Now with the release of the 25th film looming and the franchise approaching 60 years of production – we have come to expect a certain level of danger and glamour when it comes to James Bond, including his gambling ways. If you want to be more like Bond, you can find plenty of games to play online at Paddy Power https://games.paddypower.com/

Throughout the years we have seen Bond in numerous glamorous location across the world. From a very long list we have handpicked some of our favourites all around the globe. You can visit these locations and even holiday in some, so be sure to consider them when choosing your next destination!

Thunderball

The locations for the 1965 film are heavily varied, you’ll find some scenes shot in the heart of Buckinghamshire, England and then others in The Bahamas. As one of the first James Bond films, Thunderball has all the glamour and luxury you would expect.

Head over the Atlantic to the Caribbean where you can take a James Bond Wrecks dive package to discover the remains of Thunderball’s Avro Vulcan Bomber. Be sure to check out Clifton Pier in Nassau Harbour, you can find stunning views from the likes of Largo’s Palmyra Lair.

Live and Let Die

Another Caribbean location but this time for the 1973 film, Live and Let Die. This time Roger Moore was the man who would get to film in such stunning locations. You can actually stay in the Couples San Souci in Ocho Rios which was a hotel and nightclub in the film. While you holiday in luxury you can explore the other locations on the island including the Green Grotto Caves where Bond took out Doctor Kananga or visit the Louisiana crocodile farm known as Jamaica Swamp Safari Village, where the first owner ran across the top of the crocs for the film’s unforgettable stunt.

For Your Eyes Only

This time the Bond adventures remain in Europe for the 1981 film, For Your Eyes Only. In Corfu, just off the shore of mainland Greece we can find the Achilleion Palace. The casino which is located on the top floor of the palace is in the scenes where Bond intends to meet up with Kristatos and play a game of chemmy, we also see Bond playing Baccarat here against Bunky before dinner. You can visit the Palace via many different organised tours or head to the town of Gastouri and explore it for yourself.

License to Kill

Timothy Dalton stars as James Bond in this 1989 film, it is one of his two appearances as the British spy. In Key West, Florida, USA we find Dalton filming scenes in the Ernest Hemingway home and museum. Possibly one of the most famous scenes of Dalton’s career is when his character Bond is told his license to kill has been revoked.

The building was named a historic US landmark in 1968, but to this day still accepts visitors from all around the world. Here you can book weddings and tours or even just discover more about the man himself. Book ahead or simply turn up, the surrounding areas are stunning so there is plenty to do in the local area as well.

The World Is Not Enough

In the more recent film of 1999 we see Pierce Brosnan play James Bond in the 21^st film of the franchise. This film has one of the most iconic London scenes in it where we see Bond in a high speed boat chase. If you head to the O2 Arena in London you can stand next to the Thames and witness where the chase took place, as well as ride a cable cart over the river. If you really want to check out the views in London you can book in advance and walk over the O2 Arena.

Skyfall

One of the most recent films with possibly the most personal storyline Bond has ever had is Skyfall. The film reaches into the past of James Bond, with his family and childhood home. Daniel Craig, who plays Bond, travels all over the world in this film, from Macau and Shanghai to the highlands of Scotland.

The Scottish highlands are where we see the depiction of the Bond family home, Skyfall Lodge, although the house and church were actually built for the purpose of the film in Elstead, Surrey England. Much of the films scenic shots were filmed in Scotland, especially that iconic scene with Bond driving up to his family mansion through the valleys of Glencoe. The stunning scenery is the perfect backdrop for the haunting scenes of M dying and Bond reminiscing on the memories of his childhood.

See also:

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

Soundtrack Review: Sicario: Day of the Soldado (2018)

Leave a reply

I find the soundtrack of Sicario: Day of the Soldado to be an interesting case. All things being equal, I feel certain that Jóhann Jóhannsson would have returned to score the followup to Sicario, but his untimely death made that impossible. Instead, Hildur Guðnadóttir (who worked with Jóhannsson on the first film) scored the sequel.

Hildur Guðnadóttir is an Icelandic cello player, composer and singer who has manifested herself at the forefront of experimental pop and contemporary music (e.g. with the band Múm). In her solo works she draws out a broad spectrum of sounds from her instrument, ranging from intimate simplicity to huge soundscapes. Her career as a film composer is soaring, having recently scored HBO’s limited series, Chernobyl.

Regarding the soundtrack for Sicario: Day of the Soldado, Guðnadóttir had this to say:

I think SOLDADO is more emotional than the previous film, and the score follows that direction. This one is a bit more of a ‘classical’ score, with musical themes that follow certain emotional landscapes. That is something that was important to Stefano [Sollima, director],” Guðnadóttir explained that Sicario: Day of the Soldado has “a bit of a different feel as a score because the function of it is different. That is also a direction that was important to Stefano. He was also very vocal about the fact that he did not want to recreate the Sicario soundtrack, so he often wanted to go in very different directions from Sicario.

With all due respect, I feel inclined to disagree with the above statement. Having listened to the soundtrack, this score feels very similar to the original Sicario, and I confess I didn’t get the feeling of a classical score. However, I actually don’t mind the similarities to the original score, because I felt a great sense of musical continuity listening to the soundtrack. As with the first Sicario, the music was simple, concise, reflecting the tension and angst that both of these films are known for. The music is very “lean” which is totally appropriate for this kind of film. In a film like Sicario: Day of the Soldado, a lush orchestral score would feel totally out of place. This is a story dominated by violence and the “kill or be killed” mentality. Everything is stripped down to the bare minimum, including the music, and I really like that because of how well it fits.

Perhaps I’ve misinterpreted the score (it has been a while since I watched the first Sicario), but that’s my impression of the score for Sicario: Day of the Soldado. Please don’t misunderstand, I enjoy listening to it very much, and I feel that it is very much in line with the score for the original Sicario. If there are musical departures, I’m simply not noticing them.

Let me know what you think of Sicario: Day of the Soldado and the soundtrack in the comments below and have a great day!

See also:

My thoughts on: Sicario (2015)

Film Soundtracks A-W

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

Soundtrack Review: Dora and the Lost City of Gold (2019)

Leave a reply

There’s a part of me that still can’t believe that a live-action movie based on Dora the Explorer exists, and yet, there it is. I’ve largely felt ambivalent about Dora and the Lost City of Gold ever since it was announced, but that’s probably due in large part to the fact that I was far too old for the Dora cartoon when it first came out in 2000, so I don’t have that connection to it that younger adults (not to mention children) might have. That being said, I couldn’t turn down the opportunity to check out the film’s soundtrack, which was co-composed by John Debney and Germaine Franco.

Debney is well known in the film music world, composing music for The Princess Diaries, Sin City, Liar Liar, Spy Kids, No Strings Attached, The Emperor’s New Groove, I Know What You Did Last Summer and Hocus Pocus, just to name a few. I admit that Germaine Franco is less well-know to me personally, but her resume is also impressive. She is the first female composer to be hired by DreamWorks Animation and Pixar and is a Sundance Music Sound Design Fellow. She previously scored the feature film Little for Universal Pictures with Tina Gordon Chism, which was released in theaters in April 2019, as well as working on Tag and Life-Size 2.

As for the soundtrack itself, it’s pretty enjoyable to listen to for the most part. Any score that has John Debney involved is going to have some good music in it, and the soundtrack is full of a number of these, one of my favorites being “Camino Real de Parapata.” On the other hand, there are a few tracks that are clearly meant to pay homage to the music of the Dora the Explorer cartoons, and these, for me, clash terribly with the rest of the soundtrack. I understand wanting to pay homage, but those musical moments aren’t my favorite compared to the more orchestral segments.

As good as the music sounds (for the most part), this soundtrack didn’t really resonate with me the way others have. As mentioned earlier, I think that’s partially because I don’t have a prior connection to Dora the Explorer to help me connect to the music. I do appreciate the work that went into the orchestral segments. They do a good job of creating a feeling of action, that sense of a chase that helps the music and the film bind more closely together. My conclusion is this soundtrack is good, but not mind-blowing.

Let me know what you think about Dora and the Lost City of Gold (and the soundtrack) in the comments below and have a great day!

See also:

Film Soundtracks A-W

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

David Buckley Talks Angel Has Fallen (2019)

1 Reply

The soundtrack for Angel Has Fallen is available as of August 23rd, and it was composed by David Buckley. He has previously worked on such projects as The Good Wife, Jason Bourne, and The Nice Guys. The soundtrack is available from Milan Records, an imprint of Sony Music Masterworks.

Angel Has Fallen is the follow up to Olympus Has Fallen (2013) and London Has Fallen (2016). When there is an assassination attempt on U.S. President Allan Trumbull (Morgan Freeman), his trusted confidant, Secret Service Agent Mike Banning (Gerard Butler), is wrongfully accused and taken into custody. After escaping from capture, he becomes a man on the run and must evade his own agency and outsmart the FBI in order to find the real threat to the President. Desperate to uncover the truth, Banning turns to unlikely allies to help clear his name, keep his family from harm and save the country from imminent danger.

Of the soundtrack, David Buckley had this to say:

When Ric (Director) and I first discussed the direction for this score, he was keen for the music to remain in a dark space as our hero becomes a fugitive. There is some light and shade as the drama enfolds, but for a lot of the film my job was to portray a man not only on the run, but one who is fast approaching mental and physical breaking point. But there is a theme that represents light and hope, for Mike Banning’s wife, for his child, for the President and for his country.

ANGEL HAS FALLEN (ORIGINAL MOTION PICTURE SOUNDTRACK)

TRACK LISTING –

1. The Kill Zone

2. Drone Attack

3. Swallowed by Trees

4. Home Life

5. Fishing Trip

6. Death Threats

7. Semi Chase

8. Deep Regrets

9. Resurrection

10. Into the Abyss

11. Hospital Breach

12. Accepting Betrayal

13. Atrium Firefight

14. Final Chess Match

15. Coup de Grace

16. No More Secrets

17. Angel Has Fallen

Angel Has Fallen is directed by Ric Roman Waugh from a screenplay by Robert Mark Kamen and Matt Cook & Ric Roman Waugh, story by Creighton Rothenberger & Katrin Benedikt, and based on characters created by Creighton Rothenberger & Katrin Benedikt.

Let me know what you think about Angel Has Fallen (and its soundtrack) in the comments below and have a great day!

See also:

Film Composer Interviews A-H

Film Composer Interviews K-Z

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook