CS Score! Reviews Army of Darkness by Joseph LoDuca & Danny Elfman
Welcome fans of film music to another edition of CS Score !, in which we break down the latest news on film music. Several top-class extended soundtracks have been released in the past month, especially the collaboration between Joseph LoDuca and Danny Elfman Army of darkness.
And that’s it. Since there are no new films on the horizon, it will be a while before we get a new soundtrack that we can sit back and listen to. It seems like, principle could be the only big blockbuster to be released this summer, which means Ludwig Göransson’s score will be the next new soundtrack I can tackle – and it won’t be on the shelves until late July. Kind of crazy.
In the meantime, there are many past soundtracks that we can re-explore in some form, including Alan Silvestri’s Avengers: Endgamethat released a year ago. So let’s get to that. Read!
ARMY OF DARKNESS – JOSEPH LODUCA & DANNY ELFMAN
I’m a fool for everything Sam Raimi does, including his dropouts. Spider-Man 3For example, it sucks but also has a distinctive Campy quality that you have to appreciate. No matter how dramatic the moment is, no matter how big the film is, you can always hear the director giggling right in front of the camera like a child shooting Spitballs at his math teacher.
Army of darkness falls somewhere between a hit and a failure for the director. The action horror movie never reaches the previous bar (or gore level) evil Dead Films, but it doesn’t suck either. In fact, much is pretty great, including the great score by Joseph LoDuca (who did the two previous episodes) and co-screenplay by Danny Elfman (whose wife Bridget Fonda appears briefly at the beginning of the film), recently courtesy of Varese Sarabande was redesigned. (You can buy the soundtrack Here.)
With an appropriately stirring main theme that is equally extravagant and cheeky, the soundtrack does a good job and gives the film a healthy dose of grandiose adventure without ever losing its absurd identity. And for every dramatic underline like Give Me Some Sugar / Bone’Anza, you get a wild piece of Looney music in titles like Little Ashes and God Save Us. In other words: it’s the perfect musical accompaniment too Army of darkness.
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Part of what makes LoDuca’s score so funny are these wild, random playfulness that counteract the more adventurous moments. There are clues that sound just as epic as the Basil Poledouris score Conan the Barbarian and others that sound like they were ripped out of a kitschy Renaissance piece. Dark motifs such as the eerie synthesizers and voices in The Forest of The Dead / Graveyard that are reminiscent of LoDuca’s work evil Dead and Evil Dead 2Add more flavor to the unique listening experience. Sometimes it sounds as if the various elements are in direct conflict with one another, while Gothic choruses rage against the more triumphant orchestral pieces; and traditional medieval motifs are interrupted by darker, modern dishes. It’s pretty brilliant.
As mentioned above, Elfman co-wrote the score, although he is mainly attributed to the “March of the Dead” theme. a spectacular piece of crazy horror music with thundering percussions that are very reminiscent of the music heard during the penguins’ march Batman returns. Actually, Army of darkness sounds a lot like Elfman from the 90s. You could be forgiven for making the film. It’s no wonder that Raimi and the legendary composer have worked on so many projects, including one Spider Man and Spider-Man 2, because their sensitivities mesh perfectly. (Christopher Young took over the reins Spidey 3 After the duo had an argument – a conflict that has since subsided and likely means that Elfman will be involved in Raimi’s upcoming Doctor strange Movie.)
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Army of darkness remains one of the great soundtracks of the 90s. Although LoDuca’s work here is admittedly somewhat out of date, despite her shiny new remaster, like so many classical scores from a bygone era, he succeeds. There are not many who like it.
AVENGERS: ENDGAME – Alan Silvestri
As we celebrate the one-year anniversary of the greatest movie of all time – or according to millennials of the biggest movie EVAR – Avengers: EndgameI thought this was a good time to look back at Alan Silvestri’s epic score. (Also, as mentioned above, there isn’t much else!)
The long soundtrack released by Hollywood Records on April 26, 2019 – 1 hour and 56 minutes when purchased through digital – is certainly great with a number of great action pieces, though most of the music comes from Infinity War . There are not many new ideas or motifs here, which makes sense in view of this Endgame marked the end of its first three MCU phases. Despite its epic proportions, Silvestri’s score feels remarkably boring compared to, for example, John Williams’ score Star Wars: The Rise of Skywalker.
Portals remain the highlight of the Avengers: Endgame The album and the track bring the different elements of the two together well Infinity war and Endgame including the classic avenger Topic, but strangely omits other topics that are used in the long-standing film series.
Marvel obviously did a lot of things right with his cinematic universe, but really dropped the ball when it came to creating musical continuity. Early entries like that of Ramin Gjawadi Ironman, Patrick Doyles Thor and Silvestri’s own Captain America at least tried to develop a theme for their heroes. These issues were practically abandoned in subsequent films, with the exception of one or two occasional reprisals.
As such, Silvestri can be forgiven for having written the last two avenger scores from scratch; or based on themes and motifs that he set out in Joss Whedons 2012 The avengers. Interestingly, Silvestri also borrows heavily from his (ironically) minimalist score for Robert Zemeckis’ Lost for the main topic belongs during Endgames emotional beats like Tony Stark’s funeral.
The avengers Topic that ranks right up there Harry Potter, Jurassic Park and war of stars As most likely to be recognized by an occasional movie-goer, appears early and often in Endgame to underline heroic moments like the Time Heist; and remains a strong counterpoint to the otherwise vomited action music.
Silvestri pumps Endgame with enough juice to make the listening experience enjoyable, even if it borrows a lot from its previous scores – I’m the only one who hears The Polar Express during the last battle? – but you have to ask yourself what a modern composer could have brought to the table. I find it strange that Hans Zimmer’s themes for Wonder Woman and Superman are more recognizable in the critically designed Snyderverse than anything that was produced for Marvel’s more popular heroes’ collection. Also #releasethesnydercut.
Ultimately, despite some powerful moments, Avengers: Endgame just feels more like someone else avenger rather than the culmination of films worth over a decade. There was an opportunity to do something really special here. Given the talent associated with these productions, including composers such as Michael Giacchino, Patrick Doyle, Brian Tyler, John Debney and Tyler Bates, this is a great missed opportunity.
Besides, Marvel has gotten stronger scores lately. In particular Ludwig Göransson’s Oscar win for Black Pantherwho made a brief appearance in Infinity war, Mark Mothersbaughs Thor: Ragnarokand Giacchinos points for Spider-Man: homecoming and Spider-Man: Far from home, respectively. Hopefully this trend continues … and culminates in a stronger score for the next big one avenger Final.
FILM SCORE NEWS
Legends of passion
James Horner’s amazing score for Edward Zwick’s juicy melodrama Legends of passion – or the film that made Brad Pitt a household name – finally gets the 2-CD full score treatment that I’ll break down in the next score! Rate. You can buy your copy Here.
According to diversityDaft Punk was selected for the next film by Italian filmmaker Dario Argento, Occhiali Neri, aka Black glass. Daft Punk delighted the audience with their electronic score Tron: Legacy a long time ago in 2010 but didn’t make a film yet.