Since this one is -- thus far -- a download release only it'll have little-to-no traction here amongst the collectors, but David Holmes score for Steven Soderbergh's film Haywire is my pick for the best new score of 2012. The film ain't a slouch either. About as un-pretentious as you can get, it follows a female private contract assassin/point-man as she's set up from within her own company. Ass kicking ensues in the rather convoluted but still pulpy Thriller. Ex-mixed martial arts fighter Gina Carano portrays protagonist Mallory Kane with a slight edge of Clint Eastwood meeting Pam Grier. She has real screen presence (and her acting prowess is at least believable as the killer anti-hero) and becomes a real star whenever she begins to beat her all-male co-stars into bloody pulps. A real treat in this film was David Holmes' jazzy, intrusive score which got an incredible mix next to some amazing fight sequences (free of shaky cam and quick-cut editing -- I'm telling you, this film is superbly done) which also sport bone-crunchingly brilliant sound effects. I think Soderbergh has knocked it out of the park musically (and cinematically) in the space of only a few months (I'm talking 'bout Contagion and now Haywire here) and fans of David Holmes and Neo-Noir scores should definitely check this out as it is truly some fun stuff.
My two favorites in an already satisfying score...
P.S. Holmes' Haywire is available via Amazon or iTunes. I opted for the iTunes release and the sound quality is excellent in the 36 minutes release which totals about 75 MB of data. No digital booklet unfortunately.
I too get a cool/slick heist vibe from this soundtrack [like TOWER HEIST] rather then a film that is supposedly a lean revenge film.
Since it is only 35 mins of score perhaps it use well in the film.
Well the film is very cool, and unlike most mainstream Action films. In fact, if you're familiar with Soderbergh's The Limey I'd say it has a lot in common with that (with maybe a sprinkling of '70s Revenge and Spy B-movies). No surprise considering both were written by Dark City scribe Lem Dobbs. The score seems complete on the release. It was very sparse throughout the film and only used to set up the mood before Gina Carano beat the shit out of her compatriots.
This track might give a better example of the mood of the whole piece once removed from the exciting end titles theme found on "Haywire" or the pulsing, rhythmic intensity of "Let's Get Jiang."
Well the score certainly fit the film better than I thought. Some scenes were a bit distracting though when the sound effects were muted and we just had music. Thankfully the action sequences weren't scored with this music though, because it wouldn't have really fit.
I really liked this film and score. When you have a star like Carano who can actually perform the fight sequences, you can avoid the fast edits that we have come to expect in scenes like that, and the film benefits greatly from it. It becomes so much more real than in the typical film. Kudos also to Carano's male opponents in those scenes, who had to perform some equally good moves.
This is one of the few action films in recent years where the music stands out as being noticable. It has some funk to it, and isn't just the usual chord progressions and percussion. Glad to see that a CD is in the offing.
Saw this at the weekend. Thought Gina Carano (sp?) was very good and the action was satisfyingly tough and well-directed and very clear. Thought the film was just okay, dragged a little and i never really got going, felt quite flat. I always feel detached with Soderbergh films, so it might be my reaction to his style. I ws the same with The limey, though i learned to like that better. That was a Lem Dobbs script too.
The score in the movie i really didn't like at all. For me it didn't fit the film and was overly conspicuous and began to grate on my nerves quite badly when it started up throughout.
Outside of the film i actually really ENJOY the music just as a stand alone listen, and have been knocking it back all morning. Good stuff.
Hehe... it's funny how it doesn't work for some in the film (personally I was enthralled by it in the film) but it seems everyone is really digging it as a stand-alone listen. That's great! Holmes' Haywire remains one of my 2012 favorites, and I still listen to it regularly.
Buscemi: A great example of Holmes's 1970's sound is Haywire. It wouldn't be out of place in a Morricone or Schifrin marathon.
Me1: I ordered the Haywire this AM Buscemi. Seems like my thing for sure. Thanks buzz.
Me2: I listened to Haywire today and it's pretty cool. Not as intense as Ocean's 12. Mr. Holmes must be settling in as he ages. Lots of Fender Rhodes. The main title and the "Dublin" cues are nice. He's not really a jazzer or anything - his changes are more RB than jazz, and pretty easy at that. But he knows how to mix things very cleverly, and how to create the "sound" of something fresh. Sharp guy. Thanks B.
saw this a while ago and something was bugging me about the score. watched it again tonight and there is a repeated 3 note guitar sequence used frequently during some of the drama and tension scenes - couldnt place it at first but its the first four electric guitar notes of jerrys Hour of tbe gun theme, - heard at the right pace during the main title from Hour of the gun - less one note.
Yes, this is one of Soderbergh's best. And Gina Carano turned out to be a much more convincing actor than Sasha Grey, though I suspect Gina's voice might've been dubbed over. All the better if so, since a smoky, sexy voice is vital for Carano's character to play well off the males in the movie.
The score does a great job of adding fun and pace without being a Bond ripoff. In fact, Holmes is just the sort of composer that Bond needs to get a new original sound without re-hashing Barry again. The End Title really rocked. I should pick up this CD.