OK I'll bite. First off it's easy to point out that you don't need to be able to write a better score to acknowledge that based on Goldsmith previous outings, "Chain Reaction" is most definitely an auto-pilot score. For an auto-pilot movie (I hope you sincerely have no illusions that Chain Reaction was an original premise). By auto-pilot I mean relying heavily on old material and formulas with less emphasis on innovation whatsoever. And Goldsmith can do good auto-pilot scores with a strong theme and his regular bag of motifs (The River Wild, Deep Rising, Along Came a Spider, The Last Castle). However Chain Reaction IMO lacks any such theme and is just a showcase of 90s Goldsmith action/suspense tropes. Listening to Chain Reaction it feels like a demo reel strung together with the familiar sounds and motifs.
This kind of comment always makes me chuckle. Firstly, when you're a natural creative, there's no such thing as autopilot. And, even if there was, Goldsmith was incapable of it. Developing musical ideas from one score to the next should never be interpreted as "lazy"
Secondly, are you serious? Silvestri and Kamen might have given Chain Reaction the Goldsmith "energy" but the others? James Newton Howard? Seriously?
Chain Reaction is a thrilling, adrenaline pumper which offers several propulsive action cues (several unique motifs) a couple of welcome 70s throwback military statements and a unique, industrial/grunge sound that Goldsmith never tried before or since. And yes, a THEME! What's not to like?
I always find it funny when people try to pretend mediocre scores like this, U.S. Marshals and Executive Decision are some kind of lost masterpieces. Don't get me wrong, they are fun, enjoyable scores but even in Goldsmith's 90's output these scores are nothing more than a footnote.
And even a natural creative person, will revert to autopilot. Especially when it's a rush job like Chain Reaction was. Add to that, that a film like Chain Reaction doesn't really need a briliant score.
And looking at the scores Howard wrote at the time, I'm sure he could have delivered a score that would have been just as adequate.
It's comments like this that make me chuckle. "unique, industrial/grunge sound?". You make Goldsmith out to be the Trent Reznor of 1996. But you are free to interpret the score in that way, just as I am in considering it to be Goldsmith on autopilot.
I wouldn't begin to compare Goldsmith to Reznor. Goldsmith wrote music, not noise! Curious to know if you think The Russia House was an auto-pilot score since the entire theme was copied verbatem (not merely developed) from an earlier score. Surely the ultimate act of laziness...?
I always find it funny when people try to pretend mediocre scores like this, U.S. Marshals and Executive Decision are some kind of lost masterpieces. Don't get me wrong, they are fun, enjoyable scores but even in Goldsmith's 90's output these scores are nothing more than a footnote.
And looking at the scores Howard wrote at the time, I'm sure he could have delivered a score that would have been just as adequ.
Mediocre? I would argue that Total Recall, Chain Reaction and Air Force One are three of the best action scores of the 90s, regardless of composer. Best in that they do what they do, very very well. Only Kamen's Die Hard/Lethal Weapon scores came close.
Name me one genuinely exciting Howard cue? (That isn't a Goldsmith rip-off)
CHAIN REACTION makes me think of SEBASTION a little bit. The repeating machine-like sounds referenced here earlier as "industrial" are suggestive of the world of science and mathematics that the characters live in, and are very similar to the same kind of sounds and structures in SEBASTION, although of course in a more contemporary style, rather than the mod 60's. And the suspense motif is a cousin to CAPRICORN ONE, at least in my mind. I think too many people are turned off by the electric guitar to notice all the good stuff.
It's comments like this that make me chuckle. "unique, industrial/grunge sound?". You make Goldsmith out to be the Trent Reznor of 1996. But you are free to interpret the score in that way, just as I am in considering it to be Goldsmith on autopilot.
I wouldn't begin to compare Goldsmith to Reznor. Goldsmith wrote music, not noise!
... I wouldn't begin to compare Goldsmith's music to Reznor's music either, but I'm drawing a comparison to how Reznor was the main influence for infusing the industrial sound in then popular/alternative music during the 90s and that even seeped through to movie scores.
Curious to know if you think The Russia House was an auto-pilot score since the entire theme was copied verbatem (not merely developed) from an earlier score. Surely the ultimate act of laziness...?
I actually thought about this example because I do have a hard time buying the "naturally creative" argument that Goldsmith even by reprising same musical ideas and developing or varying them is somehow not on autopilot. And I don't have any problems with him reprising ideas, as long as it sounds fresh and exciting which to me which Chain Reaction doesn't. It plays like flat soda to me. In regards to The Russia House, though the score is a tad repetitive, I have no problem with him using the Alien Nation theme simply because that never made that movie in the first place and with Russia House it sounds more at home. Also, it kinda disproves Goldsmith of being "naturally creative" doesn't it? Even he has to labour over finding a great theme and holding on to them for later occasions.
In that regard I was also thinking about the other recent release Basic Instinct, definitely not an autopilot score because of how fresh and exciting it is written, and like the movie it reinvigorated the erotic thriller genre and thriller scores.
I would argue that Total Recall, Chain Reaction and Air Force One are three of the best action scores of the 90s
I totally get Total Recall and to a rather modest extent Air Force One but you've truly lost me on Chain Reaction even being mentioned as a best action score of the 90s.
I would argue that Total Recall, Chain Reaction and Air Force One are three of the best action scores of the 90s
I totally get Total Recall and to a rather modest extent Air Force One but you've truly lost me on Chain Reaction even being mentioned as a best action score of the 90s.
And yet, is it! And it doesn't sit on his laurels with one action motif - but three. The propulsive "Too Late", the driving "Ice Chase" and the off-kilter "The Museum". The latter wasn't given its due on the original Varese CD. It will be now.
Mediocre? I would argue that Total Recall, Chain Reaction and Air Force One are three of the best action scores of the 90s, regardless of composer. Best in that they do what they do, very very well. Only Kamen's Die Hard/Lethal Weapon scores came close.
Maybe, I'll change my mind once I've heard the deluxe edition, but if I were to make a list of best action scores of the 90's, Chain Reaction (nor AFO probably) wouldn't even make my Top 10.
Name me one genuinely exciting Howard cue? (That isn't a Goldsmith rip-off)
That was a bit weak on your part. Here is the first one that came to mind. Two others, that are not on YouTube, are the "Subway Fight" or the "Roof Fight" from The Fugitive. I'd argue that "Subway Fight" is actually the more exciting of the two in the film. JNH's driving rhythm in the moments following the fight, when Kimble escapes the subway car and sets off toward the hotel, sells Kimble's determination exactly as much as Ford's performance. Incredibly exciting moment of "GO GET 'IM" for the audience.
He certainly simplified his orchestrations and they were redundant in the 90's. They can't compare to works like, "Star Trek TMP", "Poltergeist" and "NIMH", which were diverse and complex.
He certainly simplified his orchestrations and they were redundant in the 90's. They can't compare to works like, "Star Trek TMP", "Poltergeist" and "NIMH", which were diverse and complex.
No one is arguing that his 90's action music isn't streamlined compared to his earlier work, but even something like Chain Reaction, a score that I never really thought was that strong in the 90s, sounds like a masterwork compared to literally any other composer of action music these days.
No one is arguing that his 90's action music isn't streamlined compared to his earlier work, but even something like Chain Reaction, a score that I never really thought was that strong in the 90s, sounds like a masterwork compared to literally any other composer of action music these days.
Add to that, that a film like Chain Reaction doesn't really need a briliant score.
Comments like this are so funny to me, like everyone was standing around going, "Where are we at now with this, like a five, five and a half? You know what guys let's go the brunch buffet is only open for like another fifteen minutes. If we hurry we can get the last of the lox." "But Andy, don't--" "THE LAST OF THE LOX, JERRY." "HAHAHAHAHA you're right what am I saying it's only Chain Reaction what is this even about something energy BEEP BOOP look at this guy Keanu over here is he even an actor?" "I know LOL try standing next to him in the freezing cold sometime though I do like Morgan." "Oh yeah Morgan's cool I'm doing another one of these with him a couple years from now and the producers are already all over me about how the movie won't need something brilliant, just the contractor grade." "NICE." *high fives*
Add to that, that a film like Chain Reaction doesn't really need a briliant score.
Comments like this are so funny to me, like everyone was standing around going, "Where are we at now with this, like a five, five and a half? You know what guys let's go the brunch buffet is only open for like another fifteen minutes. If we hurry we can get the last of the lox." "But Andy, don't--" "THE LAST OF THE LOX, JERRY." "HAHAHAHAHA you're right what am I saying it's only Chain Reaction what is this even about something energy BEEP BOOP look at this guy Keanu over here is he even an actor?" "I know LOL try standing next to him in the freezing cold sometime though I do like Morgan." "Oh yeah Morgan's cool I'm doing another one of these with him a couple years from now and the producers are already all over me about how the movie won't need something brilliant, just the contractor grade." "NICE." *high fives*
Let me put it this way, I don't think when Goldsmith saw a rough cut of the film he thought, "I'm gonna pull another Chinatown for this."
Nor do I expect Reeves or Freeman are thinking this was one of the best flicks they've made.
Let me put it this way, I don't think when Goldsmith saw a rough cut of the film he thought, "I'm gonna pull another Chinatown for this."
Which is a relief because it wasn't Chinatown! Nor was it ST:TMP (!) nor Poltergeist, nor NIMH. Nor was it made in 1982.
It was Chain Reaction, a reasonably fast paced action thriller starring two (IMHO) dreadful actors and the least surprising twist in action movie history (Morgan Freeman? Really? Gosh..)
Goldsmith's job was to ramp up the thrills and he did that with his usual style and creative flare.
No one is arguing that his 90's action music isn't streamlined compared to his earlier work, but even something like Chain Reaction, a score that I never really thought was that strong in the 90s, sounds like a masterwork compared to literally any other composer of action music these days.
Wouldn't it be a fairer argument if the haters compared Chain Reaction to other 90's action scores, rather than the more recent "action scores these days"?
And for the record, I think Duel In The Sun sounds terrible old-fashioned these days... Tiomkin's style seems to have dated far worse than some other composers from around that time.
I ain't gonna claim Chain Reaction was Oscar fodder, but I enjoyed it enough to get the new CD. It does have some HUGE similarities to other scores he wrote in that period, U.S. Marshalls, Executive Decision. But it also does have some excellent suspense and action music.
I also love Rent A Cop. Just for the record.
So, buy it, or, get over it
Haters gonna hate. Somebody should write a song about that, hmmm.
But you are free to interpret the score in that way, just as I am in considering it to be Goldsmith on autopilot.
