I just read a review for the new Alice in Wonderland movie, in which the reviewer commented that Burton of '89 would made a far different and arguably better film. This comment may or may not be substantiated, but I know that the soundtrack is pure Danny Elfman of the 90s.
Alice's Theme was not what I was expecting, but definitely the highlight of the album. It's sadly the only theme in the score. I was worried that the music may be redundant what with all the tracks named Alice's Theme # 3 and so forth, but the variations on the theme are varied and most welcomed. Some of the underscore reminded me of vintage Elfman from the Batman Returns-Sommersby-Black Beauty era, but I can also see where people are comparing it with Charlie and the Chocolate Factory and Serenada Schizophrana are coming from.
I've only had to listen to the score a handful of times, but it's a strong showing for Elfman in '10.
Showing posts with label Danny Elfman. Show all posts
Showing posts with label Danny Elfman. Show all posts
Sunday, March 07, 2010
Sunday, February 22, 2009
Got Milk?
Right now, the 2009 Academy Awards is being shown all across America, and one of the nominated is composer Danny Elfman for his score for the biopic, Milk. Regardless of whether he will win or not (there's a very slim chance of that, since he's up against TSCOBB and Slumdog Millionaire) I must admit that I'm very proud of his work this past year.
His first score was for Errol Morris's Standard Operating Procedure. Not only is this Elfman's first documentary but it has a very modern and almost minimalistic approach to it. At times, I swear I'm listening to Philip Glass, which most of Elfman's body of work does not resemble. A few tracks come from Elfman's non-film project, Serenada Schizophrana, which blends in seemlessly.
His next score he worked on was the popcorn flick, Wanted. This time, Elfman adopted more of a rock and synthesizer approach. He even wrote and performed a new song for the movie. While, at first listen, I didn't know what to make of it, after awhile, I could hear some of Elfman's stylistic trademarks, and now when I listen to it, I think it's very Elfmanesque.
The last, and probably my favorite, is Hellboy 2: The Golden Army. I too was disappointed that Marco Beltrami did not return for the sequel, but Elfman did not disappoint. His score is a tribute to science fiction scores of the 1950s, complete with theremin. The score's a combination of Elfman's more "classic" scoring of the 80s with the stylings to his idol, Bernard Herrmann. The end result is a bombastic, energetic score that is humorous, quirky, and just plain fun.
Unfortunately, I haven't had the chance to listen to Milk yet. The reviews I've read of it are kind of middle of the road. It seems that the score runs closer to the style of SOP. Well, whether or not Elfman wins tonight, he should still be commended for his endless effort in the field of flim scoring.
His first score was for Errol Morris's Standard Operating Procedure. Not only is this Elfman's first documentary but it has a very modern and almost minimalistic approach to it. At times, I swear I'm listening to Philip Glass, which most of Elfman's body of work does not resemble. A few tracks come from Elfman's non-film project, Serenada Schizophrana, which blends in seemlessly.
His next score he worked on was the popcorn flick, Wanted. This time, Elfman adopted more of a rock and synthesizer approach. He even wrote and performed a new song for the movie. While, at first listen, I didn't know what to make of it, after awhile, I could hear some of Elfman's stylistic trademarks, and now when I listen to it, I think it's very Elfmanesque.
The last, and probably my favorite, is Hellboy 2: The Golden Army. I too was disappointed that Marco Beltrami did not return for the sequel, but Elfman did not disappoint. His score is a tribute to science fiction scores of the 1950s, complete with theremin. The score's a combination of Elfman's more "classic" scoring of the 80s with the stylings to his idol, Bernard Herrmann. The end result is a bombastic, energetic score that is humorous, quirky, and just plain fun.
Unfortunately, I haven't had the chance to listen to Milk yet. The reviews I've read of it are kind of middle of the road. It seems that the score runs closer to the style of SOP. Well, whether or not Elfman wins tonight, he should still be commended for his endless effort in the field of flim scoring.
Saturday, December 31, 2005
Top 10 Soundtracks of 2005
Anyone who knows me, or even looks at this list, will know that I'm very biased, but hey, it's my list, okay?
1. Revenge of the Sith
2. Charlie and the Chocolate Factory
3. Munich
4. Memoirs of a Geisha
5. Goblet of Fire
6. Corpse Bride
7. War of the Worlds
8. Kingdom of Heaven
9. Fantastic Four
10. Batman Begins
1. Revenge of the Sith
2. Charlie and the Chocolate Factory
3. Munich
4. Memoirs of a Geisha
5. Goblet of Fire
6. Corpse Bride
7. War of the Worlds
8. Kingdom of Heaven
9. Fantastic Four
10. Batman Begins
Monday, November 28, 2005
What I'm Listening to Now
1. Memoirs of a Geisha - John Williams
2. Intensive Care - Robbie Williams
3. Godzilla VS the Sea Monster - Masaru Satoh
4. Fantastic Four - John Ottman
5. Corpse Bride - Danny Elfman
I've been meaning to write some reviews to a number of these albums, but haven't had the time. Please bare with me since work's kept me very busy.
2. Intensive Care - Robbie Williams
3. Godzilla VS the Sea Monster - Masaru Satoh
4. Fantastic Four - John Ottman
5. Corpse Bride - Danny Elfman
I've been meaning to write some reviews to a number of these albums, but haven't had the time. Please bare with me since work's kept me very busy.
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