Score Reviews‎ > ‎

The Damned by Frederik Weidmann

posted Sep 5, 2014, 12:58 PM by Kaya Savas

The Damned is your typical horror movie that re-hashes everything you’ve ever seen in a horror movie. Car troubles? Check. Creepy cabin in the middle of nowhere? Check. Freeing an ancient evil? Check. Evil in the form of a small girl? Check. So, you kind of expect what is going to be in store. Frederik Weidmann is behind the score here, and he does an admirable job of delivering quite a robust score at that. The film delivers all the elements you’d expect in a horror score, and maybe that's what makes it appealing.

The Damned is as straight-forward horror scoring as you’ll get, but Weidmann is very skilled at building these full-bodied soundscapes that you’re going to give into this score’s charm even if it’s just a little. You are quickly lured into the world of the narrative and the music does a fantastic job of enveloping you, but as it progresses you will begin to recognize the journey. Bursts of loud music, trickling strings, shrieking violins, creepy distorted whispers, crescendos that keep rising and rising, and plenty other party favorites are included here. So, I guess the question is if you’re down for a well-executed horror score that follows the genre archetypes, or are you hungry for something more innovative? I can fall in the middle and lean more towards innovative. I’m not a person who scours at the thought of using well established horror techniques, at least if they are done well. Weidmann handles everything here extremely well, he makes all of it work. The score can drag and feel a bit forced at times, but overall it’s an absorbing journey. You won’t feel it was time wasted if you listen to this score, and I think that’s the factor that says it’s worth your time.

The Damned is a score that follows the script and the genre, but Weidmann does it in his style which makes it worth a listen. Even though all the formulaic horror score moments are here, it still has a charm that absorbs you into this tale of terror. The film itself is riddled with horror cliches, so you can expect the score will have them too. I think Weidmann embraces the genre well here even if this is a score that you probably won’t revisit more than once or twice.