Hollywood Records has released the MOON KNIGHT Original Series Soundtrack – Music by Hesham Nazih from the latest hit Marvel Studios superhero series on Disney+.
Hesham Nazih is an Egyptian composer best known for his distinguished style that interweaves authentic melodies with contemporary music. Nazih has built a 20+ year artistic career and has under his belt more than 40 award-winning soundtracks of blockbuster films that dominated the Egyptian box-office.
The soundtrack features 33 tracks by the Egyptian composer, who infused a signature Egyptian flavor with a more modern and contemporary sound rather than relying on outdated music tropes from the region. Hesham was also touched by the character of Marc Spector, who has to save the world while struggling with his own mental health issues, and used his score to express the human emotions that words cannot.
When Steven Grant, a mild-mannered gift-shop employee, becomes plagued with blackouts and memories of another life, he discovers he has dissociative identity disorder and shares a body with mercenary Marc Spector. As Steven/Marc’s enemies converge upon them, they must navigate their complex identities while thrust into a deadly mystery among the powerful gods of Egypt.
1. Moon Knight 2. The Village 3. Village Scales 4. Phone and Elevator Blues 5. Chaos Within 6. Full Moon Fight 7. Storage Locker 8. What Suit? 9. Moonlight Fight 10. Fake Passport 11. She Is Here 12. The Sky 13. The Boat 14. Takes the Body 15. Constellation 16. No Suit 17. The Kiss 18. Eye of Horus 19. Welcome Travelers 20. Weight of Hearts 21. The Cave 22. All Your Fault 23. Open the Door 24. Give Her a Call 25. The Inevitable 26. Humble Disciple 27. Befriending Myself 28. Rise and Shine 29. We Need More 30. New Skillsets 31. I’ll Never Stop 32. Meet My Friend 33. Summon the Suit
Will you be checking out the original soundtrack for Moon Knight?
Marvel Music/Hollywood Records has released the digital soundtrack from Marvel Studios’ Black Widow. The album, featuring an original score composed and produced by Lorne Balfe (“Mission: Impossible – Fallout,” “The Crown”), is available here. Executive Soundtrack Producers are Cate Shortland, Kevin Feige and Dave Jordan. Directed by Cate Shortland and produced by Kevin Feige, Black Widow—the first film in Phase Four of the Marvel Cinematic Universe— launches simultaneously in theaters and on Disney+ with Premier Access in most Disney+ markets.
Commenting on Balfe’s score in her liner notes from the vinyl album, Shortland said, “The score is fragile at times, embodying Natasha’s fears and her longing for connection. Her tenuous bond to the earth. But then it is completely powerful and I get cold shivers at how fun and epic it is. Lorne takes us on a spectacular ride.”
According to Balfe, from the moment he first watched the reels he felt Natasha needed a musical heritage. “I wanted to introduce the soundtrack of her story,” he said. “I listened to a lot of Russian folk music—it’s a very particular sound. This music is the ghost of the past that is always with her.” Balfe wrote folk music that helped define Natasha from a musical point of view. “The instrumental DNA includes balalaikas, duduks, dombras and hurdy-gurdies,” he said. “In addition to these instruments of that geographical place, we also needed it to have a female voice.” Balfe achieved this with a 20-piece female choir, singing in Russian. “The Russian language sounds a bit hard or aggressive, but there’s something very magical about it—something beautiful and rustic.”
Led by conductor Gavin Greenaway, the score was recorded at Abbey Road Studios with 118 musicians and a 60-piece choir, consisting of both classical and gospel, featuring 40 men and 20 women. Balfe said, “Abbey Road has been the musical home to the Avengers Family for many years. With ‘Black Widow,’ there was only one studio in the world that could match the epic-ness of her story, and the largest orchestra ever recorded at Abbey Road seemed fit for the occasion.”
I’ve been listening and re-listening to Lorne Balfe’s soundtrack for Black Widow for a few hours and I’m continually blown away by how amazing this music is. Of course I could hear snippets of this during the actual film, but once you can listen to the soundtrack without the dialogue and other sound effects getting in the way, everything comes out that much clearer.
I admit I didn’t realize during the movie that there was this much of a choral presence in the score, but now that I can hear the choir, I love it. I normally wouldn’t think of using a choir in a superhero movie but for a character like Natasha Romanoff it absolutely works. One of Balfe’s goals was to create a Russian folk music sound and he definitely succeeded. Again, I really love how “Russian” this score sounds. Even when the story isn’t in Russia itself, the influence of the former Soviet Union can be heard through most of the story and that’s a brilliant way to use film music, by subtly reminding the viewer that Black Widow was originally a Russian asset. I can especially hear this sound in “Natasha’s Lullaby” and “Yelena Belova”. Speaking of “Yelena Belova” I really like this track because, as a theme for Yelena, I swear I hear an echo of “Natasha’s Lullaby” within it, which would make so much sense given the connection Natasha and Yelena have with each other.
And then there’s “From the Shadows”, the cue that prompted me to do a soundtrack review in the first place. This is the music that is most closely associated with Taskmaster. I’m not sure if it’s the proper theme for the character or not, but you do hear it most often when Taskmaster is on the screen. This is my favorite theme/cue in the entire film and I love how twisted it sounds. I’m referring to that melodic turn on what sounds like a cello. That’s the sound that I hear whenever Taskmaster is hunting down an opponent (or is on the move in general). Given what we learn about that character, it fits perfectly and I like how it reaches out to grab your ear despite everything happening on screen at the same time.
One other thing I liked is the contrast Lorne Balfe creates between his action cues. There’s plenty of action, of course, but there’s also slower moments in the music, particularly during the family moments between Natasha, Yelena, Red Guardian and Milena, and I really liked them. Moments like that give the audience a chance to breathe and there are plenty of moments like this in Lorne Balfe’s score.
This soundtrack really belongs up there with the best Marvel movie scores, it’s the perfect musical fit for Black Widow and it reminded me how good Marvel film scores can be.
Track listing 1. Natasha’s Lullaby (3:24) 2. Latrodectus (2:40) 3. Fireflies (3:13) 4. The Pursuit (2:53) 5. The First Bite Is the Deepest (3:05) 6. Last Glimmer (4:19) 7. Dreykov (3:34) 8. You Don’t Know Me (2:01) 9. Yelena Belova (3:36) 10. From the Shadows (3:44) 11. Hand in Hand (2:46) 12. Blood Ties (2:54) 13. Whirlwind (3:28) 14. Arise (2:13) 15. Natasha’s Fragments (1:55) 16. A Sister Says Goodbye (4:14) 17. I Can’t Save Us (1:51) 18. Red Rising (3:57) 19. The Betrayed (5:38) 20. The Descent (2:05) 21. Faces to the Sun (1:51) 22. Natasha Soars (2:19) 23. Last Love (1:59) 24. Into the Past (4:55) 25. Broken Free (3:09) 26. A Calling (2:10)
Let me know what you think about Black Widow (and its soundtrack) in the comments below and have a great day!
It feels like an eternity since I watched Avengers: Endgame in the waning days of 2019. So much has happened since then that I genuinely forgot what it felt like to experience a Marvel movie in the theater. And then I sat down to watch Black Widow (after waiting more than a year to see it) and it all came rushing back to me, that thrill that can only come from seeing a Marvel film on the big screen.
Let me start off by saying that Black Widow was absolutely worth the extended wait. Sure, it would’ve been ideal if we’d gotten this story several years ago, or at least before Avengers: Infinity War and Avengers: Endgame, but it’s made clear multiple times that this film takes place immediately after Captain America: Civil War, so I’m willing to let it go. At least we finally got a standalone story about Black Widow that takes us deep into her past, and gives us a tantalizing look at how she (and other “widows”) were trained.
If I have one gripe with Black Widow it’s that I really wanted to see more of the Red Room training that goes into creating assassins like Natasha and Yelena. We’re given, as I said, a tantalizing glimpse, but no more. Given what’s implied about this training process, that might be for the best, but I still found myself wanting more.
Other than that, I found myself loving pretty much everything about Black Widow. The chemistry between Scarlett Johansson and Florence Pugh is off the charts and is by far one of my favorite parts of this movie. Believe the hype about Pugh’s performance as Yelena Belova, it’s all true. I’m not sure if Yelena is going to be the new Black Widow moving forward, but I could certainly see her stepping into that role in future Marvel films and I wouldn’t complain if that indeed happened. Speaking of chemistry, I really enjoyed the interplay between David Harbour (Red Guardian) and Rachel Weisz. I would happily watch a film that explored the background of these two characters, especially anything that focused more on Red Guardian. I think we all want to see a film that explores THAT story.
Another detail I liked and one that surprised me is how many funny moments there are in this film. Given the serious topics involved, I wasn’t expecting this at all, but I really liked it, it helped to break up the tension, which is always an important element that some movies neglect. After all, if you keep things too fast or too serious all the way through, it can really grate on an audience.
And make no mistake, there are some serious issues touched on in Black Widow, particularly in regards to the treatment of women. I know what I said earlier about wishing this film had come out several years earlier, but given everything that’s happened in recent years (especially the Me Too movement) I think maybe Black Widow came out at the right time after all. The film’s main villain is one of the most disturbing and revolting to appear in the entire MCU and long before he meets his demise you’ll be begging Natasha to finish him off. Speaking of villains, for what it’s worth, I really like Taskmaster’s appearance in this film. I admit I’m not familiar with the character’s comic book origins, but I like how the character was updated for this film.
Finally, I would be remiss if I didn’t briefly mention the film’s score. Lorne Balfe has constructed some gorgeous music to go with Black Widow and what I heard intrigued me enough that a full-on soundtrack review will be forthcoming. My favorite part has to be the music associated with Taskmaster and if you’ve seen the movie you probably know what I’m talking about (my soundtrack review will provide details). And one final note: I like that the movie leaves some plot threads unresolved, because it practically guarantees that we will see some of these characters again.
In conclusion, I loved Black Widow. Marvel has returned to the big screen in style and I urge everyone who hasn’t seen it yet to go see Black Widow in theaters if at all possible, this is a movie that needs to be seen on the big screen.
Let me know what you think about Black Widow in the comments below and have a great day!
Earlier this month I had the opportunity to speak with composer Jeremy Turner about his work on the Netflix series Immigration Nation and his work on the main theme for Marvel’s 616 on Disney+. For both of these scores, Turner is in contention for an Emmy, one for Documentary Score and one for Main Title Theme.
The docuseries Immigration Nation follows U.S. Immigration and Customs Enforcement (ICE) officers on raids, at detention centers, and attempting to integrate with local law enforcement. The cruelty viewers see firsthand is gut-wrenching and the score depicts the tension and fear seen on screen. Turner scored the project almost like a horror film to match the devastating and unfortunate reality that many have been oblivious to. The revelations in the doc are uncomfortable and the audience feels the heaviness of the high stakes circumstances so many in this country have been subjected to.
Marvel’s 616, in complete contrast, is an anthology documentary television series that illustrates different pockets of the Marvel Universe. Some episodes revolve around Marvel cosplay, Marvel action figures, and even a Marvel Comics-themed musical.
Jeremy Turner began his musical studies on the piano at the age of 5 and started playing the cello when he was 8 years old. After growing up in Michigan, he attended The Juilliard School as a pupil of Harvey Shapiro and studied chamber music with Felix Galimir. As a composer, his music has been heard around the world, from Carnegie Hall to the Sydney Opera House. Noted works include The Inland Seas, composed for violinist James Ehnes and mandolinist Chris Thile and commissioned by the Seattle Chamber Music Society; Suite of Unreason, a commission from the Music Academy of the West for their 70th Anniversary season; and a choral work for the Brooklyn Youth Chorus, commemorating the 50th anniversary of Wave Hill in New York.
Please enjoy my conversation with Jeremy Turner about his work on ImmigrationNation and Marvel’s 616.
How did you get started as a composer?
I started writing music when I was a toddler, making up songs on an old upright piano in the basement of our family home. But then got sidetracked for about 20+ years, as I became a cellist in an orchestra in New York and had a performance career that kept my calendar pretty full. Eventually, I got back to doing what I was probably meant to do in the first place, and I’ve been composing ever since.
How did you get involved with Immigration Nation?
Through Shaul Schwarz, who directed the first film I ever scored—Narco Cultura back in 2013.
Given how important the story being told in this docuseries is, how did you decide where to start in putting the music together?
I knew it was going to be a fairly daunting task and would have a lot of emotional ups and downs. So, I just started at the beginning by writing a couple of sketches for the main titles, and that led to some established themes from which we could work with.
I find it very interesting that you chose to score the series similar to a horror film, was that your concept for the musical style for Immigration Nation from the beginning or did you come to that conclusion after trying several different styles?
It’s not all horror of course, but we discussed early in the process what fear might sound like. And much as I tried to leave the cello behind (since it is the instrument that I’m most comfortable with), directors Shaul Schwarz and Christina Clusiau really wanted the full range of what the cello could bring. At its best it can be heart wrenching, melancholy, and probably is the closest musical instrument to the human voice. But when you start pushing beyond the limits of conventional approaches and experiment with extended techniques, you can draw out some incredibly unsettling tones.
How much time did you have to score Immigration Nation?
I’d say about 3-4 months. It was during the early days of the pandemic, so there were a lot of adjustments made on the fly, in terms of how we would work together and how we would finish.
Are there any musical moments in Immigration Nation that you hope viewers notice?
It’s a strange project to have any sense of pride about because it’s all so real and all so tragic. Honestly, I just hope people muster up the courage to watch it because I think it is something every American needs to see, regardless of what one thinks they might already know.
Was there any part of Immigration Nation that you had difficulty scoring? Or any part where you decided music just wouldn’t work?
To be truthful, I had difficulty scoring the entire series. Not technically, but just emotionally. The final minutes of episode 5, I don’t think I’ve ever made it through without shedding a tear. But yes, there was a delicate balance to not score a scene that didn’t need to be scored. There is a lot of raw emotion on screen, so we made a conscious effort to not have the music force anything that wasn’t already clearly being felt.
On a different note, how did you go about scoring the title music for Marvel’s 616?
Marvel? Big heroic theme? Less than a minute of music? This is a dream scenario for any composer!
Were you inspired at all by the Avenger’s theme that recurs throughout the MCU? I may be wrong but I swear I hear a musical resemblance between the two.
I flipped through some Marvel music from scores past to see where I’d be coming from for sure. Always helpful when taking over a shift in the kitchen to know what the previous menu was. But no, the themes aren’t related other than the fact that they are played by a big orchestra.
How much time did it take to compose the title music for Marvel’s 616?
Not terribly long, only in that the actual titles hadn’t been created yet. So, I just wrote a single sketch based on our initial conversations and that ended up being the final music. Yes, I realize that will probably never happen again!
I want to say thank you to Jeremy Turner for taking the time to speak with me about his work on Immigration Nation and Marvel’s 616.
I hope you enjoyed reading this interview and have a great day!
So when I announced that I was finally watching The New Mutants, the reaction was so mixed that I was genuinely nervous when I put the blu-ray in to watch it, even though I’d promised to go in with as open a mind as possible.
As it turns out, I shouldn’t have worried because, believe it or not, I liked The New Mutants!
Now, to be sure, the film does have its flaws (and I’ll be getting to them) but they don’t negate the fact that I found The New Mutants to be an overall enjoyable experience. The film is based on the Marvel comics team of the same name and focuses on Dani Moonstar, Rahne, Ilyana, Roberto and Sam, five young mutants who are allegedly being treated at a hospital until they can control their powers. The truth proves to be slightly more complicated, and Dani’s arrival at the facility brings events to a head.
First of all, I love all of the mutant powers featured in this movie, especially Ilyana’s. The idea that you can visit a magic dimension that you made real….I just love that. She’s also a total badass with that sword. I really hate that I know that there aren’t any plans to make a sequel of this film, because I want/need to see more of Ilyana and what her powers can do. Also, no surprise since I’m still a big fan of Game of Thrones, Maisie Williams as Rahne was one of my favorite parts of the movie (though am I the only one who finds it ironic what her mutant power is given Arya Stark’s connection to wolves in Game of Thrones?). Her chemistry with Blu Hunt (who played Dani) was so much fun to watch and is the exact kind of friendship/relationship I like to see form in movies between characters.
There are however, as I said, some flaws in this film that keep it from being a truly great film. The biggest issue for me is that Dani’s connection to the demon bear isn’t explained to my satisfaction. I kind of get what the film is trying to tell me about how it works, but a more straightforward explanation would have helped. Don’t get me wrong though, I ultimately love that demon bear for what it does to a certain character. At the same time, Dani’s powers in general could have used a slightly better explanation. I’m also a little confused by Ilyana’s past trauma; like, I initially thought she’d been kidnapped by aliens and it wasn’t until later that it dawned on me that they might’ve been a symbol for something much, much worse.
I also feel like the film could’ve gone into the horror part of the story a little more (though it’s my understanding that was due to events outside of the director’s control). The horror elements that ARE there are fantastic, I just want more of it! The overall tone is also uneven in places. One minute it’s a semi-serious story, the next I’m vividly reminded of a 90s flick where the teens are all goofing off (complete with peppy rock music). It’s almost like the story can’t make up its mind what genre it’s in.
The one character I actually don’t like at all is Dr. Reyes (and not just because she’s an antagonist). For most of the film she came off as very one note. At least towards the end she finally begins to show some emotion, if she’d been that way earlier in the story I might have liked the character better.
Even with those flaws, I still love The New Mutants. It’s the very definition of a fun popcorn film, whose flaws don’t (or at least shouldn’t) get in the way of enjoying it. I’m glad I finally sat down to watch it and I can’t wait to see it again in the future.
Let me know what you think about The New Mutants in the comments below and have a great day!
On April 9th, Marvel Music/Hollywood Records released The Falcon and the Winter Soldier: Volume 1 (Episodes 1-3) with music composed by Henry Jackman on digital. Marvel Studios’ The Falcon and The Winter Soldier stars Anthony Mackie as Sam Wilson aka The Falcon, and Sebastian Stan as Bucky Barnes aka The Winter Soldier. The pair, who came together in the final moments of “Avengers: Endgame,” team up on a global adventure that tests their abilities—and their patience. Directed by Kari Skogland with Malcolm Spellman serving as head writer, the six-episode series also stars Daniel Brühl as Zemo, Emily VanCamp as Sharon Carter, and Wyatt Russell as John Walker.
Though broken up into separate episodes, Jackman’s score for The Falcon and the Winter Soldier is quintessential MCU film music (and I’ll call it that despite the streaming format). It has that perfect blend of suspense and action that I’ve come to love in these movies. This music, as with most scores in the MCU, is good at getting you to hold your breath and lean in to hold more, only to knock you back with a sudden burst of sound. The synthetic elements in the music are something of a surprise, but given that this series is set in (pretty much) the present day (time skip notwithstanding), it makes sense that The Falcon and the Winter Soldier would need as modern-sounding a soundtrack as possible. This show is meant to be something of a thriller after all, and the music definitely creates that idea.
If this is how good the music is for just the first three episodes, I can’t wait to hear Volume 2, which is due to be released on April 30th.
The Falcon and the Winter Soldier: Volume 1 Track List
Louisiana Hero (2:14)
Tough Act to Follow (1:16)
Airborne Operation (5:56)
Smithsonian Tribute (0:53)
What Do You Want? (1:22)
Pluck Up the Nerve (1:53)
New Agitators (1:13)
The Wrong Guy (1:38)
America’s Sweetheart (1:05)
No Parachute (1:29)
Safe House (2:41)
Someone You Should Meet (1:09)
Overlooked For Promotion (1:20)
Warranted Attention (1:03)
Fraying Edges (2:04)
Take One For the Team (2:21)
Unnecessary Use of Force (1:48)
Prison Break (4:41)
A Marriage of Convenience (0:32)
A Pure Heart (1:48)
Low Town (1:24)
Attack, Soldier! (1:47)
Breaking Character (2:29)
Bad Science (3:30)
Masked Man (1:20)
Dissent and Disillusionment (1:08)
Star Spangled Man – The Captain America Drum Corps (1:44)
Be sure to check out The Falcon and the Winter Soldier: Volume 1 as soon as you can!
Some of the people who knew me growing up might be surprised to hear this, but I was a HUGE fan of Blade back in the day (around my early teens). I have vague memories of stumbling across this film on TV (along with Blade II) and being spellbound by what I saw. Didn’t understand half of it, didn’t even know that Blade came from Marvel comics, but I did know I was watching something amazing!
As I understand it, Blade was the first Marvel movie to be successful, setting the stage for the X-Men films, the Fantastic Four films, and, many years later one could argue, the Marvel Cinematic Universe. It all started with Blade. For those not familiar, Blade is a Daywalker, a half-vampire who spends his nights hunting down and killing every vampire he can find. Unlike regular vampires, Blade can move about in daylight, and he has some nasty weapons in his arsenal. The movie sees Blade come up against Deacon Frost (Stephen Dorff) who has plans of his own for the vampire world. Along the way, Blade is forced to take Dr. Karen Jenson (N’Bushe Wright) under his wing (so to speak) and teach her the basics of vampire fighting after she’s assaulted and bitten by a vampire herself.
When I sat down to watch Blade again, it had easily been fifteen or sixteen years since I’d last seen it, so I’d completely forgotten how badass this film is. Despite being 22 years old, the film doesn’t feel dated in the slightest, though I will concede some of the CGI effects haven’t aged that well. Even then, it’s a “blink and it’s over” sort of issue, and I feel like I’m nitpicking by even mentioning it. Seriously, the CGI for the most part looks pretty good for being created in the late 1990s, which is a testament to how hard the filmmakers worked on this film at the time. As good as it must have looked then, it looks so much better upgraded to Blu-Ray (and I can only imagine how it looks in 4K).
Wesley Snipes OWNS every scene he’s in. As soon as he appeared in full Daywalker mode, I instantly realized why everyone had been campaigning to have Snipes reprise his role in the MCU somehow. I mean, my God….the presence he has as Blade is unreal. You don’t see his fangs until very late in the film (unless I missed it), but there’s no mistaking that Blade is something more than human from the moment he’s introduced. He’s also such a badass with that sword, I loved watching every single fight scene. Also, while I have no doubt Mahershala Ali will make an AMAZING Blade, I sincerely hope that Wesley Snipes appears in the MCU Blade film in some way, shape, form or fashion. This is something I NEED to happen.
I love that the “everyman” role in the film is taken up by a woman. I think that’s why I found it so easy to watch this film as a teenager, I could identity with Karen, and that fear of confronting a world that is suddenly nothing like what you expected it to be. N’Bushe Wright turns Karen into a complete and total badass by the end of the film, even when she’s taken captive, she doesn’t lay down and take it. She fights back, and for that reason alone I will defend Blade as one of the best comic book movies ever made forever.
I also have to praise Blade for creating a vampire society that feels frighteningly plausible. The gist is that vampires have permeated every layer of human society imaginable. In fact, it’s quietly implied that vampires are well on their way to running human society as a whole, albeit from the shadows. Once this fact is laid bare in the film, you start to look twice at every person our heroes pass, and it’s actually enough to make you slightly paranoid.
And again, I have to go back to the intensity that permeates this film. This might come out wrong, but there’s a rawness about Blade that isn’t present in the MCU, and it sets Blade apart in a good way. What I mean to say is, because they were still sussing out how to turn Marvel stories into good films, there’s a raw, immense crudeness about Blade that leaves one with the impression of something much larger lurking in the shadows (the MCU by comparison is much more finely tuned). It was just so refreshing to see a film like this again, and I hope the new Blade film carries over some of this intensity and rawness (which is possible since this is the film that’s introducing vampires to the MCU, assuming Morbius doesn’t count).
Having seen Blade upgraded to blu-ray, all I can do now is hope and pray that a similar upgrade is being done for Blade II and, yes, even Blade Trinity (I’m a completionist, it’ll bug me if I don’t upgrade the whole trilogy).
Let me know what you think about Blade in the comments below and have a great day!
Hollywood Records has released the complete soundtrack for the recently released video game Marvel’s Avengers, with music composed by Bobby Tahouri. Born and raised in Los Angeles, California, Bobby Tahouri comes from a musical family, and began playing piano at the age of seven. He studied piano and composition at the San Francisco Conservatory of Music and also at the California Institute of the Arts, where he received his bachelor’s degree in Music Composition.
Marvel’s Avengers allows you to take control of earth’s mightiest heroes in an all new original playable story. Crafting original music for these iconic characters is no easy task, but Bobby Tahouri (Rise Of The Tomb Raider) has composed an epic, sweeping score deserving of the massive playable roster of Marvel heroes.
Epic and sweeping are certainly two good words to describe Bobby Tahouri’s score for Marvel’s Avengers. It also, to my ears, sounded strikingly familiar. Starting with the first track, “Every Hero Has to Start Somewhere”, it occurred to me that what I was hearing sounded quite similar to the Avengers main theme as composed by Alan Silvestri in The Avengers (2012). Well, maybe that’s not quite the right way to put it. Tahouri’s music isn’t identical to Silvestri’s theme, but they do sound to me like they could easily belong in the same musical family, there is definitely a thematic relationship present. Given that the game centers on the Avengers, this is appropriate.
Another detail I like about this soundtrack is how dynamic it is. As you might expect with a soundtrack for an action-adventure game, most of the music is loud, bombastic, and clearly following video game-style fighting. However, Tahouri does take the time to slow down in a few places (parts of “New Normal” and “No More Heroes” are prime examples). These tracks are refreshing to hear because they give your ears a brief rest from the frenetic pace that makes up most of the soundtrack.
As video game soundtracks go, Marvel’s Avengers sounds pretty good. I like that it sounds similar in certain respects to the 2012 film (and the Avengers films in general). I haven’t gotten to see the game in action, but this feels like the kind of music you’d want to have in an action game like this.
Let me know what you think about the music for Marvel’s Avengers in the comments below and have a great day!
I know I’m 7 months late to the party but damn Captain Marvel was awesome!
Due to watching Avengers: Endgame earlier this year, I was already somewhat acquainted with Captain Marvel and her awesome powers, but I’d yet to see her origins explained. Now that I’ve finally seen it, I feel like a bit of a goof for avoiding the film for so long, because it really is a brilliant film.
Normally, I avoid origin films like the plague, because most of them have that “awkward phase” when the hero is just learning how to deal with their powers or situation (or a combination of both) and I find it all very difficult to watch. However, Captain Marvel takes the same road that Black Panther did last year: the awkward phase is skipped over entirely, with Carol’s origins explained in flashback form. This is a format I really like for origin films, because the awkward moment I was afraid of never arrived.
And then there was the humor, which I didn’t see coming at all! Brie Larson and Samuel L. Jackson are incredibly funny when put together, and it makes me want to see more. All throughout the film are little funny moments that make you want to smile, and it’s yet another reason why I love this film. The other pairing that I found fascinating to watch was the interplay between Carol/Vers and Yon-Rogg. First of all, Jude Law is brilliant in that role. Second, I’m still trying to figure that guy out. I’ve been jumping back and forth in my opinion of Yon-Rogg since last night. While I initially thought he was just Carol’s well-meaning mentor, I quickly thought he was her mortal enemy the whole time. But then I thought about it, I mean really thought about it, and now I think it’s a lot more complicated than that. I think, on some level, Yon-Rogg does genuinely care about Vers/Carol, because at times he seemed genuinely conflicted. Considering he leaves the film very much alive, I imagine that situation will be resolved in Captain Marvel 2.
Also, on a quick side note, that little plot twist regarding the Kree and the Skrulls (and which ones are the bad guys) just about blew my mind. I did not see that coming, I really didn’t.
But I think what I loved most in Captain Marvel was the evolution of Carol throughout the story. She started as a would-be Kree warrior struggling to fit in, and grows into this absolute badass who realizes she doesn’t have to justify her existence to anyone and the moment she came to that realization had me in tears because it was just so beautiful.
I’m so happy I finally made the decision to watch Captain Marvel, it is by far one of the best films in the MCU, and in my mind it also firmly cements Captain Marvel as one of my favorite Marvel superheroes. I can’t wait to see Carol’s story continue in the sequel (whenever it arrives). Let me know what you thought about Captain Marvel in the comments below and have a great day!
Avengers: Endgame is the culmination of a story that began all the way back in 2008 with the first Iron Man. The MCU has since grown to consist of 22 films (including Endgame) and has redefined how comic books can be brought to life. While covering the rise of various heroes (and villains), the MCU had also told, piece by piece, the story of Thanos the Mad Titan. Endgame is the final result of EVERYTHING that has happened in the MCU, even more than Infinity War. There were so many plot threads that went into making this story that it could have easily become overwhelming or confusing.
But it didn’t.
Endgame does an admirable job of setting up the stakes for this final battle. It is made clear what needs to be done and WHY it needs to be done. There is some beautiful cinematography along the way, I would even dare to say that some of my favorite shots in the entire MCU belong to this film. The last act alone is a dream come true. If the film has one flaw, it’s that you need to have seen most of the MCU prior to seeing Endgame, or certain little moments in the film aren’t going to make sense.
Musically, Alan Silvestri knocks it out of the park once again. If you listen carefully, you can hear musical callbacks to multiple past MCU films, reprises of certain themes, all building to the perfect climax in the last act. Just like Infinity War, the music of Endgame takes you on an emotional roller-coaster ride, but in a good way.
I said at the beginning that Endgame is a culmination of everything that’s come before, which also means it’s, in many ways, an ending. The film does an excellent job of resolving all of those plot threads. And yet, at the same time, the door is left slightly open for several stories to continue. The MCU will definitely continue (it makes way too much money to end now) but it will never be like it was before. That story has come to an end.
But what a story it was. I’m not sure we’ll ever see anything like it again.
And that’s my spoiler-free review of Avengers: Endgame. I hope you enjoyed it, and I hope you had just as much fun watching the film as I did. Let me know your spoiler-free thoughts in the comments below and have a great day!