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First complete release of terse, gritty James Newton Howard soundtrack for Michael Mann thriller starring Tom Cruise, Jamie Foxx, Jada Pinkett Smith, Mark Ruffalo. Cruise heads into dark territory as cold-blooded hit man using cab services of Foxx to make his deadly rounds. Foxx becomes wary adversary, Pinkett Smith the pawn, Ruffalo the cop in pursuit, with exciting Metro train climax bringing all to boiling point. Howard scores with interesting architecture that follows story arc: initial cues are brief, low key ideas with low strings, synth pulses underneath. As story progresses, cues increase in density with additional strings and percussion figures no longer underneath but filling cues within. As climax nears, Howard quickens pace with thicker orchestral colors, more prominent percussion rhythms. Finally, Howard scores climactic showdown with riveting action music. Here, exciting, aggressive French horns get the spotlight with thundering percussion right up front with them. "Vincent Hops Train" is dynamic action highlight! Original 2004 release on UMG's Hip-O label featured 12 tracks by various artists plus just 4 brief subdued selections from Howard's score, included here courtesy UMG. Intrada now focuses solely on Howard's score, totaling nearly 53 minutes, including music not in the finished film plus two additional alternates. Graphic packaging features flipper-style booklet cover: choose Tom Cruise as hit man or Jamie Foxx as cab driver. Presented from digital two-track stereo master elements courtesy Paramount Pictures. James Newton Howard composes, Pete Anthony & Bruce Fowler conduct. Intrada Special Collection CD available while quantities and interest remain!
http://store.intrada.com/s.nl/it.A/id.10124/.f?sc=13&category=-113
01. Max And Vincent Talk (3:03)
02. Arriving At Second Hit (2:53)
03. Sylvester Clarke (1:11)
04. Cut Cuffs (1:09)
05. You Like Jazz? (1:21)
06. Daniel (1:42)
07. Daniel Is Killed (Alternate) (2:52)
08. Flowers (1:47)
09. Max Steals Briefcase (1:46)
10. Fanning At The Morgue (1:48)
11. Talk About Parents (1:15)
12. Island Limos (1:30)
13. Surveillance At El Rodeo (2:26)
14. Max Meets Felix (1:50)
15. Cops Pursue (2:21)
16. Race To Annie (7:19)
17. Cat And Mouse (4:07)
18. Race To The Metro (2:27)
19. Vincent Hops Train (Alternate) (2:11)
20. Would Anyone Notice? (Finale) (3:47)
Total Time: 49:11
The Extras
21. Daniel Is Killed (Original) (1:13)
22. Vincent Hops Train (Original) (2:10)
Total Extras Time: 3:26
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Another Mann film with a troubled composer past. It's not surprising to learn now that Howard did a lot of score which was dropped. This should be an interesting revelation.
In the end, so far -- with the list I have compiled -- nine different composers contributed, with a ten (which was stock music). I assume amongst those are other victims.
I remember Armstrong said in an interview he was going to do the film and went out to view it, then nothing happened.
Then Zimmer was reported as the composer (later I was told Paul Oakenfold was with him for that project).
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Awesome. Ordered.
Looool
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Nice choice!
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Really? Collateral? I love the film, a fantastic movie and one that I have watched repeatedly, but musically it is barely there.
Um, didn't you read that barely fifteen minutes of a FIFTY+ MINUTE SCORE were actually used in the film? I'm sure that Howard wrote a lot of great music that ended up on the cutting room floor.
Also what IS there is lost amidst a sea of needle drops and sound design. Until those fall away and we come to the extended chase sequence that closes the movie, where JNH gets to showcase a 15-minute masterpiece of action/suspense scoring ("Race to Annie," "Cat and Mouse," "Race to the Metro," "Vincent Hops Train"). "Cat and Mouse" is, for me, the moody highlight of the score. I've been 12 years for an official release of that cue.
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Fans of his scores to FALLING DOWN and NIGHTCRAWLER should enjoy this one, based on the tracks I've heard on the original release.
I'm not a huge fan of his more moody/textural/ambient scores, so this one ain't high up on my radar.
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I've got mixed feelings about this release. On the one hand I've been waiting to hear Howard's music from the final act since I first saw the film. And I'm really curious to hear all the unused stuff. On the other I had always hoped that when an expanded release would be released, it would include all the music, so also the score tracks from Antonio Pinto, Tom Rothrock and whoever added to the score. Sadly, that will now probably never happen anymore.
Still, loving the samples and will definitely purchase this one!
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this was the last really good film Mann directed , (even with its inherent implausibility)
bruce
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