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Posted: |
Apr 6, 2010 - 10:18 PM
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By: |
DeputyRiley
(Member)
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I haven't heard the new Eraser, although I plan on doing so. Let me back up and stress how much I love Alan Silvestri's music. From Father of the Bride to Contact to Identity to Ricochet to Young Guns II and so many more (although What Lies Beneath puts me to sleep every time...somehow...), I think he's fantastic. Now I have heard Eraser in the film so I'm somewhat familiar with it, although haven't heard it on its own so I am reserving judgment, but I must admit that I'm often frustrated by some of Silvestri's efforts in the action genre.
Ones that I love featuring his action music:
TOMB RAIDER 2
PREDATOR 1 & 2
YOUNG GUNS 2
RICOCHET
GI JOE
MUMMY RETURNS
BEOWULF
VAN HELSING
THE ABYSS
Now other Silvestri action-esque scores I've been frustrated at, because it feels like he's coasting, much like Goldsmith has been accused of doing when he "streamlined" his action scores (not my words!) like Chain Reaction, Executive Decision, Air Force One, US Marshals, etc. I love those scores, but that's beside the point. While I disagree on the Goldsmith claim, I do feel like Silvestri cranked out too many action pictures for awhile with nothing very new to say. These films include but are not necessarily limited to:
ERASER (only heard in the film, but seemingly...)
JUDGMENT NIGHT
LONG KISS GOODNIGHT
JUDGE DREDD
VOLCANO
BLOWN AWAY
I always felt like these had the snare drum rhythmic excellence and aggressively masculine string lines, but they also felt so derivative of his other action scores (whereas the ones I listed up, up, up above all seem fresh and new) and kind of tread the line of boring. I couldn't understand that. No main theme that really rocked, no exciting suspense music...I don't know. Just surprisingly disappointed in those Silvestri action efforts, which felt like lazy quick pay gigs, when I've heard him do so many others.
Now of course...I am completely aware that even the best composers won't have guns blazing every single time and some of their efforts will have less energy and creativity. No problem there. But I just don't see the appeal of these 5 I just listed unless you want to hear more of the same.
On a side note, has anyone heard his main titles from Silvestri's STOP OR MY MOM WILL SHOOT? So fun and jazzy. Puts a smile on the face. Why Silvestri ever agreed to help out on that one I will never know. Stallone and Sophia? Hell yeah!
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Why do people keep creating new threads about this? Where the hell is Thor to police this?
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Now while i agree that the long kiss goodnight and especially judgment night are lacking excitement, i absolutely can't agree about the likes of blown away or judge dredd being uninspired. These two are among my alltime favorite silvestri scores and especially blown away is in my opinion a prime example of how to score an action thriller in a very innovative yet effective and listenable way. That genius woodwind loop that is the essence of the score and drives the action would have a composer kicked on every action picture of today. Shame it never received a cd release.
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You are mistaken. Judge Dredd is among his best scores, and not to be so lightly dismissed.
Just to clarify, this sentiment needed to be echoed throughout the halls of Valhalla.
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Nice. 
) I did watch Eraser start to finish last weekend because I only saw the start of the movie a long time ago. Arnie's accent is worst in this one, but there are some great scenes and James Caan was a great choice for the bad guy. I'm still calling the Eraser score the little brother of "Judge Dredd" because the main theme is just shuffling some notes of that theme around IMO. But the action writing is top notch and the guitar licks are fun.