With the sheer number of films and soundtrack releases that come out on a weekly basis, it's not possible that we can cover every single one. Film.Music.Media tries to be your #1 source for coverage on the newest and most recent releases, but it's inevitable that some may slip through the cracks. This isn't to say the ones that were missed are worthy of ignoring. So in an effort to shine a light on some of the scores we missed during their initial releases, here's a little spotlight on those that deserve it.
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Need For Speed
(by Nathan Furst)
The Fast And Furious franchise may be in the lead of racing movies, but in video games, Need For Speed has always been the first name to come to my mind (having never played one of the games...), so to see a Need For Speed movie felt a bit weird. While the movie might not be the best of its kind, Nathan Furst's excellent action score deserves the attention. Outstanding action writing with some elements reminding me of Furst‘s score to Act Of Valor, a heroic main theme that feels unusual for a movie about racing, all held together by solid emotional tracks.
Batman: Arkham Origins
(by Christopher Drake)
Hans Zimmer has done an incredible job for Christopher Nolan‘s Dark Knight trilogy, but for me, Batman has always been associated with the sounds of Danny Elfman. But then came Arkham Origins. All I was looking for was a fun game to play, but right from the opening scene, all I cared for was Christopher Drake‘s music. Drake managed to fuse that old Batman feeling with intense action and Zimmer‘s rough percussion from The Dark Knight Rises. If there ever was a perfect Batman score, it‘s this one.
Torchwood: Children Of Earth
(by Ben Foster)
Having conducted Murray Gold‘s incredible Doctor Who and Torchwood scores, Ben Foster also composed the score for the third season of Torchwood titled Children Of Earth. Torchwood has always been the Doctor Who spin-off targeted at older audiences, so the music is a lot more serious than a Doctor Who score. In many ways, this is a modern espionage thriller, as the show focuses less on alien threats and more on secret organizations evading the government. The continuity in the music, possible due to the five part story leads to development as the team starts out working, becomes the hunted and fights back during the end. Meanwhile the alien threat does become more serious, so the score becomes more dramatic and intense.
Johnny English Reborn
(by Ilan Eshkeri)
A lot of parodies tend to either overuse their score or don‘t seem to care about them at all. Not so Johnny English Reborn. Like any good Bond movie/score, it opens with a bold main theme that serves as the score‘s foundation, filled in with action and the occasional suspenseful spy stereotype. The result is a score that is fun from start to finish. If you need an emotional score that gets you thinking about the morality of life, this is not your cup of tea. If, on the other hand you enjoy a fun time, this experience is definitely worth your time.