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Enter The Dangerous Mind by Reza Safinia (Review)

posted Mar 3, 2015, 3:17 PM by Kaya Savas

This film is about an EDM (Electronic Dance Music) musician who falls in love, but when his relationship starts to fall apart he cant silence the voices in his head that force him to do terrible things. The movie bills itself as a psychological thriller, probably because there are voices in the main protagonist’s head. The score by Reza Safinia will anger most, but may appeal to some if only for it's stylistic boldness. As a score, it fails to do much of anything other than to bash you over the head trying to make you wince. This is half a dub-step score and half an ambient dissonance score. Neither of which really do well in terms of structuring a narrative.

I’ve stated before that I feel dubstep is a style that should remain in clubs and not in scores. Hans Zimmer and company tried to make it work in The Amazing Spider-Man 2, and even that was a distraction. It’s just the build and nature of this type of music, it has no value in a narrative other than to over-excite. I get it, the main character is a guy who puts together dubstep music at clubs. I think that incorporating that into the score though was the easy route. Reza had to play double duty as a composer, by writing music that appears in the world of the film as well as in the score. As score, the style is just too aggressive to work. Then the music takes a dramatic shift into the barely structured ambient dissonance realm. So we have long long tracks of hardly anything. A few tracks I liked how they were built, and they did convey some suspense and tension. However, in the long run this entire score is a bit of a mess.

Enter The Dangerous Mind is a musical soundscape that fails to build anything of note for this thriller. The dubstep mixed with absolute dissonance just doesn't resonate any emotion whatsoever besides aggravation. Dubstep just doesn't work as a film score. I’ve never seen a single score where it was successful in building the narrative or having an emotional effect other than trying to be as loud as it can.