These two movies, both scored by John Ottman, have very similar plots (Kidnapping):
Trapped (2002) When their daughter is kidnapped by experienced kidnappers (Bacon and Love), the Jennings' (Theron and Townsend) turn the tables on this seemingly foolproof plan.
Cellular (2004) A young man receives an emergency phone call on his cell phone from an older woman (Kim Basinger). The catch? The woman claims to have been kidnapped; and the kidnappers have targeted her husband and child next.
I purchased the DVD of Trapped on eBay a few months ago. Because the husband tracks the kidnappers via their cell phone signal I assumed that "Trapped" was a re-titled "Cellular".
I did not particularly care for "Trapped" (The film). It was average, nothing more. I don't recall what the score sounded like in the movie. There was no CD release. (correction: CD released by Varese Sarabande.)
I haven't seen "Cellular", nor do I own the score (which was released by La-La Land).
Does anyone care to comment on the similarities between these two movies? Are the scores similar? Which is the better of the two movies? Does anyone have the La-La Land CD who wants to recommend it?
How about the film -- would it be worth my time to view it?
I saw Trapped on TV, and it was a poor movie. I didn't notice the music. Cellular was a solid thriller, and I enjoyed it. I thought that Ottman wrote some tense, exciting and at times thematic music for this movie.
I do own both scores and find Cellular to be the superior product. It has some very clever use of synthesized telephone rings built into the score and is more FUN, or rather, less serious, than Trapped, which is more along the lines of brooding and morose.
Hi. I think 13 years is a long enough time to wait for my answer. Yes, CELLULAR is a lot of fun. Orchestral, with added bounce. I like the clarity in Ottman's writing and he often throws in some great orchestral noises, which I love hearing when listening to horror or thriller scores. Elfman used to do it (think Dolores Claiborne) before he went south. It makes me think Ottman could provide a pretty decent MISSION IMPOSSIBLE score, if things hadn't already been Balfed on. I also think if you own this CD and haven't played it for years, you will be very surprised to hear how much better it is than almost everything you've heard in the thriller genre over the past 10+ years. But maybe that's just me.
I stopped reading when you were praising Ottman's composition style and comparing it to the masterwork that is Dolores Claiborne. I do miss Elfman back when his heart was in it.
I wasn't comparing it to Dolores Claiborne, you numbskull you. But like that amazing bit in Dolores, when they're running about outside during the eclipse and Elfman (or Bartek or whoever) produces that incredible honking like noise from the brass or horns, I hear strange little moments...weird orchestral effects...within some of Ottman's scores. Don't know if it's down to Damon Intrabartolo (RIP) or someone else, but they're always great to hear. Happened a few times today while playing Cellular. And I ain't wrong. There's a spaciousness and clarity to the writing and recording of many of his scores that sounds really rewarding to my ears. But I get it. He wasn't really active around 1993.
I wasn't comparing it to Dolores Claiborne, you numbskull you. But like that amazing bit in Dolores, when they're running about outside during the eclipse and Elfman (or Bartek or whoever) produces that incredible honking like noise from the brass or horns, I hear strange little moments...weird orchestral effects...within some of Ottman's scores. Don't know if it's down to Damon Intrabartolo (RIP) or someone else, but they're always great to hear. Happened a few times today while playing Cellular. And I ain't wrong. There's a spaciousness and clarity to the writing and recording of many of his scores that sounds really rewarding to my ears. But I get it. He wasn't really active around 1993.
Hahaha Kev, you ignorant slut. I think Ottman's limitations as a composer are as evident as Giacchino's, though Giacchino can actually write a tune (so long as you don't ask him to write three scores in a row). Once you've heard four or five of his scores, you can map out an Ottman sound his with little to no thought. I've liked things here and there - usually like ONE cue for every fourth or tenth score - but I don't see you changing my mind on this, ol' chum.
