Tag Archives: Luke Evans

Soundtrack Review: Midway (2019)

The soundtrack to Roland Emmerich’s epic film Midway is now available digitally and will be available on CD November 22nd. The highly anticipated action drama, starring Woody Harrelson, Luke Evans, Nick Jonas, and Mandy Moore, premiered in US theaters via Lionsgate, alongside the soundtrack release. The film centers on the Battle of Midway, a clash between the American fleet and the Imperial Japanese Navy, which marked a pivotal turning point in the Pacific Theater during WWII. The film, based on the real-life events of this heroic feat, tells the story of the leaders and soldiers who used their instincts, fortitude and bravery to overcome the odds.

The soundtrack for Midway was composed by Thomas Wander and Harald Kloser. Regarding the soundtrack, they had this to say:

“We agreed that the music for Midway should not be a traditional wall-to-wall orchestral score, with sweeping action cues where every change in mood and sentiment will be followed musically. We also set ourselves the goal that the orchestral pieces should be limited to the emotional moments of the film. Early on we asked our long-time collaborator Tommy Schobel to create some sort of musically driven sound design, using synth-based versions of sounds old war planes would make, but in a way so they make sense within the bigger picture of the score. When you hear these cues in the film, married with all the sound effects, it all becomes — quoting our re-recording mixer Greg P. Russel — ‘A Thing.’”

The soundtrack also features two contributions by singer Annie Trousseau. Here’s what she had to say about working on the soundtrack for Midway:

“I was asked by Harald and Roland if I had any big band songs recorded and would I be interested in performing a song in Midway. This was all happening last minute because they had just added a scene with a singer. Of course, I said yes immediately! Harald had pretty early on decided that “Jersey Bounce” would be the instrumental. “All or Nothing at All” was my top pick for the vocal track because it was the most fitting lyrically and emotionally for the film, and I just fell in love with the melody and Frank Sinatra’s 1939 version with the Harry James orchestra. What an honor to be the one singer asked to do this. We purposely did only two or three live takes of each song so we could keep the live feel. I’m very happy with the outcome. In preparation, I studied the enunciation of the era and did my best to give it that extra 1940s vintage sensibility. I was in heaven in a musical world and setting that allowed me to shine in a genre that I adore and respect so much. It’s been the best experience to work beside such amazing talents. Almost everyone in the film is also a musician! Such a dream come true for me.”

While it’s true, after listening to the score, that this is definitely not a wall-to-wall orchestral score such as what you might normally find for an epic film of this magnitude, I think movie audiences will appreciate the music just as much. It oozes with tension in various places, which makes sense given how pivotal the Battle of Midway proved to be. Everything hinged on this one fight going exactly right, and it feels like that is reflected somewhat in the musical score.

TRACK LISTING
1. Nobody Wants A War
2. Midway Main Theme
3. See You In China
4. Morgue
5. Getting Some Fun Out Of Life – Performed By Annie Trousseau
6. Pearl Harbour
7. This Is It
8. Bombing Six
9. What’s Their Target
10. Attack On Midway
11. Good Luck Sir
12. Jersey Bounce – Performed by Annie Trousseau (Instrumental)
13. They’ll Follow You Anywhere
14. Still Night Submarine
15. Above The Clouds
16. Dogfight
17. The Last Dive
18. This Is For Pearl
19. Victory Lap
20. Best Returns
21. Abandon Ship
22. Midway End Titles
23. All Or Nothing At All – Performed by Annie Trousseau

Let me know what you think of Midway (and its soundtrack) in the comments below and have a great day!

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Soundtrack Review: The Alienist (2018)

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The Alienist is an American television period drama mystery series based on the novel of the same name by Caleb Carr. The ten episode series currently running on TNT stars Daniel Brühl, Luke Evans and Dakota Fanning as a team assembled in late 1890s New York City to investigate a ritualistic serial killer who is murdering street children. The title comes from a late-19th century belief about mental illness. At that time, the mentally ill were considered to be “alienated” from their true nature. Those who studied mental illness were therefore known as “alienists.”

The titular alienist is Dr. Laszlo Kreizler (Daniel Brühl), a criminal psychologist hired to secretly conduct an investigation into the case by police commissioner Theodore Roosevelt (the future President of the United States). Kreizler is aided in his task by newspaper illustrator John Moore (Luke Evans) and Sarah Howard (Dakota Fanning), the police commissioner’s secretary.

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The music for The Alienist was composed by Rupert Gregson-Williams. A truly versatile composer, Gregson-Williams has written a wide range of scores for many feature films, including the Oscar-winning Hotel Rwanda for which he was awarded the European Film Award for Best Composer, the blockbuster DreamWorks animated films Over The Hedge and Jerry Seinfeld’s Bee Movie, for which Rupert was nominated for an Annie Award for his original score and the independent BBC Films’ Love + Hate, for which he was awarded the Reims International Composer Award.

Most recently, Gregson-Williams scored the blockbuster and critically acclaimed Wonder Woman directed by Patty Jenkins and starring Gal Gadot and Chris Pine; the award-winning war drama Hacksaw Ridge, starring Andrew Garfield and directed by Mel Gibson, and the international hit The Legend of Tarzan. His upcoming film projects include “Terminal,” starring Margot Robbie and written and directed by Vaughn Stein.

Having cut the cable cord several years ago, I haven’t been able to watch the show yet, but based on the soundtrack, I think I need to. From the very start with “The Streets of New York” and “Brooklyn Bridge,” there is an old-time sound that is meant to recall the late-19th century. In fact, I was strongly put in mind of the soundtrack to Sherlock Holmes (2009) which is set in a similar time period (albeit in London and not New York City).

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The cue titled “Dr. Laszlo Kreizler,” which I assume is his theme, intrigued me. Given that he’s the titular character, it struck me how sinister his theme sounds with a descending three note motif that recurs in strings and piano. This could be because he studies the mentally ill and crimes committed by people who suffer from mental illness and as a result he’s “tainted” for lack of a better word by what he’s seen. Of course it could also be a musical hint that Kreizler is a villain in disguise, but I can’t say for certain (though now I want to read the book and watch the show to find out if I’m right or not).

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Another cue that caught my attention is “Madness of the City” which literally starts with a growl that briefly settles back before exploding into a mad cacophony that literally sounds like someone trying to break through a locked door (which may have been what they were going for) with repeated “banging” sounds. The entire track is underlaid with raging strings (primarily the cello) that continually make their presence known. This is definitely one of my favorite tracks. “Alienated Mind” is also an interesting piece because it consists of long musical drones that remind me of a Buddhist monk chanting “Ommm…”

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Finally, I’ll talk about the main title theme for the show, which is very short (only 35 seconds) but contains a wealth of detail. Instead of possessing a distinct theme as most shows do (for example Penny Dreadful, Game of Thrones, Star Trek and NCIS just to name a few), the main theme for The Alienist more closely resembles what music theorists call a “sound cloud,” that is to say a mashup of music that is loosely organized (otherwise it would just be noise) but has no distinct melody. It contains elements from several of the tracks I’ve looked at already, and it carries an air of mystery about it.

And those are my thoughts on the soundtrack for The Alienist. The soundtrack is currently available via Lakeshore Records. My thanks to The Krakower Group for making this soundtrack available for review. Let me know what you think of The Alienist and its soundtrack in the comments below!

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Random Thoughts on High-Rise (2015)

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After waiting months and months, I finally got to watch Ben Wheatley’s High-Rise on Friday night. Starring Tom Hiddleston, the film centers around life in a brand new 40 story high-rise building (the first of a planned 5) located on the outskirts of London. The newest resident of the high-rise is Dr. Robert Laing (Hiddleston), a doctor specializing in physiology, with no family (it’s mentioned that his sister has recently died). Moving into Apartment 2505, Laing is over halfway up in the social order that exists in the building. He’s much higher than the families that live on the lowest floors, but not quite high enough to be “good enough” for the rich snobs that inhabit the very highest floors. On the floor above him lives single mother Charlotte and her smarter-than-average son Tobey (very unusual, since “proper” families all live on the lower floors). Laing also makes the acquaintance of filmmaker Richard Wilder (Luke Evans) and his heavily pregnant wife Helen. Floor 40, the penthouse, is inhabited by Anthony Royal (Jeremy Irons), the architect of the building, and his incredibly snobby wife (who has turned the roof into a fantastical country garden complete with a sheep, a horse and lots of trees).

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This is one of my favorite images in the film

From the beginning, things seem “off” about the building (and Laing himself, if I’m honest). He openly admits at a party that he’s not very good at “this sort of thing” and seems to prefer keeping to himself. Though the building is brand new, nothing seems to work properly very long. The lights begin to flicker in the supermarket, and the food is seen to be going bad very quickly (with no one bothering to replace it). The trash disposal system doesn’t work very well either, with bags of refuse quickly piling up.

The building is meant to be a self-contained world in and of itself: there’s a school, a swimming pool, supermarket, squash court, every luxury imaginable. As mentioned before, the rich live on the upper floors, and residents become increasingly poorer the lower the floor becomes (even though everyone (according to Wilder) pays the same rates to stay in the building). Tensions are already thick between rich and poor when Laing moves in, and the disparity between the two is obvious as can be seen with two parties. The first, held in Charlotte’s apartment, is a relatively “normal” party with loud music, lots of drinking (implied sex) and casual “getting to know you” things. Then there’s a party given by Royal’s wife (Laing is invited by Royal) which turns out to be an 18th century costume party complete with a string quartet. Laing (who is unaware of it being a costume party and showing up in normal clothes) is unceremoniously thrown out and humiliated, especially by Munrow, a fellow colleague at the school they work at. Determined to get revenge, Laing lies and tells Munrow that a brain scan has revealed a mass in his brain (even though the scan is perfectly normal). Distraught, Munrow later commits suicide by jumping from the 39th floor and Laing is deeply guilt-ridden as a result.

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To think it all started so well…

From that point on, things get….weird (that’s the only word I have for it). How things go from tension-filled normal to post-apocalyptic, I’m still not quite sure, but what I do know is it happens very quickly (the film only covers a three month period of time). Events devolve into a class war between the rich (huddled in the penthouse) and the poor (the lower floors of the building). Most of the women end up joining a “harem” in the penthouse. The utilities (power, water, etc.) eventually stop working (the swimming pool is briefly seen as a place to wash clothes), and a lot of residents wind up dead. Laing spends a great deal of time holed up inside his apartment, having apparently lost whatever remained of his sanity. I think that because he spends so much time locked away from the fighting, this is partially what allows him to move so freely between the “rebels” on the lower floors and the rich up top.

 

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One big secret comes out towards the end of the film: Tobey is actually the son of Anthony Royal because of an affair he had with Charlotte some years back. Royal himself ends up shot dead by Richard Wilder (who is in turn killed by the “harem” of women). By the end of the film, a weird sort of “normal” has taken over what remains of the building. The women have established order from the penthouse and Laing is content to wait with Charlotte until the same thing happens to the next completed high-rise tower (in which event he will be happy to welcome them to the “new world.”)

I think I would have understood the film a little better if I’d been able to read the source novel beforehand (I’d still like to read it at some point). Even though parts of the film were weird and slightly confusing, that didn’t stop me from enjoying the story. I loved the 70s vibe of the film (the original novel is set in the 1970s) and the look of the building was just wonderful.

Everyone seemed well-cast, particularly Jeremy Irons as Anthony Royal. He’s so good at playing the “elder statesman” sort of role, and I enjoyed any scene he appeared in. Hiddleston….was good for the most part…but a few of the “awkward” scenes were almost too awkward, if that makes sense. I think Hiddleston might have been trying too hard at times. Luke Evans was believable as hot-headed Richard Wilder. His devolution into an enraged maniac is somewhat frightening (especially before a particular scene involving Charlotte) and a good example of what can happen to the “everyman” when they’re pushed too far.

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Jeremy Irons is magnificent as always

I wish some of the characters had been more fleshed out. Many of the “rich” characters sort of blended together in my mind and I didn’t know much of anything about them (even the “famous actress” character became unrecognizable by the end of the film, I didn’t realize it was her until she said a line about giving her autograph). As for James Purefoy’s character, I’m pretty sure I couldn’t tell you his name, even though I know it was mentioned at least once.

These problems aside, I still enjoyed High-Rise very much and would happily watch it again.

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