Snowpiercer (Soundtrack) by Marco Beltrami - Review + Audio

Frozen Motion
by Richard Buxton

Based on the French graphic novel LE TRANSPERCENEIGE, SNOWPIERCER marks BONG JOON-HO’S English-language debut, and the last of the South Korean film industry’s big three directors (Bong Joon-ho, Kim Jee-woon, Park Chan-wook) to venture west in recent years. Though its release was subject to substantial delays outside Asia, Snowpiercer is nothing less than a riveting, refreshing, and downright entertaining science-fiction action film from an immensely talented director.

SNOWPIERCER, set in a grim dystopian future aboard a self-sustaining train without a terminus, charters the uprising of the oppressed within the remnants of humanity’s fragile existence. This ambitious, claustrophobic sci-fi is director Bong’s first foray into action, and has been met with almost universal praise. While his equally talented South Korean colleages Kim Jee-woon, and Park Chan-wook stumbled somewhat with their English-language debuts, SNOWPIERCER’S critical success has made great waves for the South Korean film industry on an international scale.

Aside from Japanese composer TARO IWASHIRO’S score for MEMORIES OF MURDER, music in Bong’s films hasn’t particularly stood out, either in-context or standing alone, nor has the director formed any sort of long-lasting relationship with a composer. As a result, MARCO BELTRAMI boarded the project. Had BELTRAMI produced a by-the-numbers action score, it would have been a missed opportunity to provide something unique for a truly unique film. However, Beltrami has most definitely succeeded in his work for SNOWPIERCER, though in a way that is not entirely satisfying.

The dark reality of SNOWPIERCER’S world is immediately evident in the score’s bleak opening - a fog of desolation that never clears and ultimately represents the divide between the score’s success and failure. As a supporting character in the film, BELTRAMI’S score blends in perfectly, but as a solo act it doesn’t quite have the muscle to boast consistent thrills. Subsequently, those who have not seen the film will have greater difficulty in finding moments worth revisiting.

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The Wolverine (Soundtrack) by Marco Beltrami - Review

Nerve-Shredding!

Review by Richard Buxton

Even for a near-immortal, adamantium-endowed mutant killing-machine, Wolverine has lead quite the chaotic cinematic life. Having fought two world wars, escaped mutant extinction, and slept through his own Origins story, Wolverine now finds himself in Japan and he’s as furious as ever. It’s just as well then that MARCO BELTRAMI has produced a score that is an exercise in near perpetual anger, intensity, and intimidation.

THE WOLVERINE is a divisive score, there can be no doubt of that. Aside from a brief respite towards the score’s conclusion, this score is a long, dark labyrinth of rage. It’s certainly not a score for everyone, but those who find themselves comforted by such imposing orchestral outbursts will certainly be able to find something worth enduring.

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World War Z (Soundtrack) by Marco Beltrami - Review

Relentless Thrills
Review by Richard Buxton

Ordinarily, a film score ejecting a viewer’s consciousness out of the heart of a movie would be considered a failure on the part of the composer. Yet mere minutes into WORLD WAR Z, I found myself reflecting upon a film score that I had barely experienced in context. The first hour or so of WORLD WAR Z is as breathless a viewing experience as one could hope for, and MARCO BELTRAMI’S musical score mirrors the desperate horrors of a zombie apocalypse with terrifying accuracy. The score as heard in the film is so effective in accenting the desperate struggle of the characters and the fervent pacing and editing, that it becomes a struggle not to remove oneself from the experience momentarily, just to contemplate the barrage of sensory triggers.

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Woman in Black (Soundtrack) by Marco Beltrami - Review

What Did They Hear?
Review by Edmund Meinerts


THE WOMAN IN BLACK is a ghost story of the old school. Taking place during the Edwardian era in England, it features the ominously-named Eel Marsh House, creepy visions that only certain people can see, mysteriously locked doors, things that go bump in the night…in short, the works. Originally a horror novel by Susan Hill written in 1983, the bone-chilling tale rose to fame thanks to Stephen Mallatratt’s popular stage adaptation, which opened in London in 1989 and continues to run to this day. Inevitably, a Hollywood film adaptation followed, produced by the revived Hammer Film Productions company. It stars Daniel Radcliffe in his first notable non-Potter role as the young solicitor Arthur Kipps, who must stay at Eel Marsh House for a few days in order to sort out the paperwork of its recently-deceased owner. Of course, it isn’t long before he starts seeing visions of a mysterious woman in black…

Hardly a stranger to the horror genre is MARCO BELTRAMI, for whom THE WOMAN IN BLACK represents a routine assignment. BELTRAMI’s track record in the genre is somewhat hit-and-miss, ranging from grandiose, lyrical triumphs such as MIMIC or DON’T BE AFRAID OF THE DARK to purely functional, borderline-unlistenable efforts such as JOY RIDE, MY SOUL TO TAKE or SCRE4M. THE WOMAN IN BLACK resides somewhere between the two, featuring lengthy stretches of dissonant underscore and tired horror techniques offset by an understated, but lyrical thematic base.

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Scream 4 (Soundtrack) by Marco Beltrami - Reviewed

A Mid-Level Scream
Review by Richard Buxton


When looking back at the various franchises that have seen revivals in recent years, SCREAM may not have been one that stood out for the sequel treatment, a treatment that is becoming all-too familiar. Having previously left us with the less than critically successful SCREAM 3, WES CRAVEN’S slasher series had quickly “become what it originally spoofed” (Rotten Tomatoes, 2011), a somewhat disappointing ending to what was once a fresh and entertaining idea. Despite this, it’s never too late for a sequel in Hollywood, and so Ghostface has returned in SCREAM 4. Revisiting Woodsboro after 10 years, NEVE CAMPBELL’S SID must once again face the terrors of the masked killer.

Also returning to the fray is series composer MARCO BELTRAMI. Having composed all three previous SCREAM films, BELTRAMI’S name suggests a continuation to the relatively adequate music heard previously. Never did the music of the franchise threaten to stun the ears of listeners, but it provided sufficient thrills to support the murderous efforts of Ghostface.

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The Hurt Locker (Soundtrack) Marco Beltrami / Buck Sanders - Review

The Art Locker
Review by Helen San

THE HURT LOCKER is a tense action drama about one soldier’s addiction to war, masterfully directed by Kathryn Bigelow (STRANGE DAYS, K19). The title refers to a place of extreme pain, often used to speak of those injured by explosions. Following three soldiers in the EOD (Explosives Ordnance Disposal) squad in Iraq, the story attempts to capture a glimpse of their heightened fears, hypervigilance, and fragile psyche for the citizens at home. Although the film’s accuracy has been disputed by Iraq veterans, there is no question the movie, realistic or not, is theatrically engrossing. It brings average Americans to the edge of their seats, as empathetic of the suffering of the EOD squad as we can be.

The film has already earned a Best Director award from the Director’s Guild of America, beating commercial favorite and Bigelow’s ex-husband James Cameron (for Avatar) and making Bigelow the first woman to ever win (in 2010 no less, can you believe it?). This is a good omen for Bigelow at the Oscars, where she stands a good chance for becoming the first woman to win a Best Director award there as well. Gender issues aside, I wanted to give the director an Oscar after seeing the film, before I knew who the director was. The storytelling, for the purposes of creating unrelenting suspense and dread, is flawless.

It is no surprise to me then, that THE HURT LOCKER is a critical darling which has earned a total of nine Academy Award nominations, including one for Best Picture and Best Music. This is composer MARCO BELTRAMI’s second Oscar nomination (the first was 3:10 to Yuma) and long time collaborator BUCK SANDER’s first. Like quite a few movies in Oscar history, once the Academy falls in love with a film, they nominate it for everything from sound editing to cinematography to editing to…you guessed it…music. In such situations, the question burning for film music fans is this: Is the nomination a reflection of public affection for the feature or the exceptional quality of the music proper?

Read the full review here

Oscar Nominees for Best Original Score

Ok. I'll admit it. I desperately look forward to the yearly nominee announcements from the Globies and the Oscars. Some of you might be asking, "Why? They are so dreadfully wrong year after year."

That's precisely it, my friends...especially when it comes to the BEST ORIGINAL SCORE category. It's like watching NASCAR for the wrecks (I mean why else would anyone watch?). It's like rubber-necking at a traffic accident. We know its going to be bad, but we cannot refrain from looking.

Listen...do you hear the approach of screeching tires........

Nominees for Best Original Score:

Atonement - Dario Marianelli
The Kite Runner - Alberto Iglesias
Michael Clayton - James Newton Howard
Ratatouille - Michael Giacchino
3:10 to Yuma - Marco Beltrami

Let me say this about "this year's wreck." First, "Hah! I told you all who argued with me about THE KITE RUNNER getting a nomination...deserving or not. Don't be at all shocked if it wins." Second, "Michael Clayton? Seriously?" SCRREEEEEEEEECH! Third, mad props to Michael Giacchino and Marco Beltrami on getting nominated. Not Giacchino's best, but perhaps one of Beltrami's. Nice to see some new names in the mix.

OK...my own twisted satisfaction will see THE KITE RUNNER win at the expense of the most deserving from this list of nominees, ATONEMENT. Hopefully there will be a show to actually watch this tragedy. Who wants to just hear the screeching of tires?

3:10 To Yuma by Marco Beltrami Sound Clips

I was suppose to catch the SNEAK PREVIEW tonight of 3:10 TO YUMA, but the schedule just didn't allow for me to get there on time. In fact, the flick is starting right about now. This looks like it could be the best western in some years (Jesse James hasn't really captured my attention much yet.)

Now to appease myself from missing the Sneak Peek, I thought I'd post this little bit as there are a SOUND CLIPS of MARCO BELTRAMI's score at the official movie website. Just visit THE OFFICIAL SITE and click on "soundtrack" once you're there.

Thus far now label has been announced, but since the official site went to the trouble of posting clips and a track listing, I pretty certain there will be a release.

If you don't want to listen to the clips, then, while you are there, at least check out the trailer.