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The Interview / This Is The End by Henry Jackman (Review)

posted Feb 4, 2015, 4:43 PM by Kaya Savas

If Henry Jackman has proved one thing, it’s that he can literally do any genre you throw at him. If you just look at the variety of scores he’s composed in his relatively short career, it’s very impressive. He has done action, historic epic, animation, thriller and even ridiculous action-comedies like The Interview and This Is The End. This pairing of Jackman with directors Seth Rogan and Evan Goldberg is a fantastic one. While The Interview caused quite a stir, we’re not here to discuss politics. We’re just happy that Sony got the film out there and allowed La-La Land Records to get this release back on the schedule.

The Interview is comedy mixed with espionage, so the score is of course going to focus on the espionage aspect of it all. The music doesn’t really touch the comedic aspects of the film, but also it does share the soundscape with song choices. Keep that in mind for both scores included here and their short running times. With The Interview, the main stand out is Kim Jong-un’s theme, I mean how often does a composer get to write a theme for a universally hated dictator? Jackman’s additional work on Hans Zimmer’s Pirates Of The Caribbean: At World’s End score actually came back to help him here. He knew how to handle the characters. The music takes everything seriously for the most part, but injects a bit of ridiculousness in there. You could say the music is sarcastic at times, but the comedy of course comes when this music plays under the visuals and dialogue. In the end the score here doesn't add too much to The Interview in terms of narrative support, but what's there does work for the most part.

This Is The End definitely allowed Henry a bit more room to play around. The Interview was more-so just little spurts of score while This Is The End really lets loose. To drive the whole rapture thing home, Jackman went all-out with the score. The music is over the top, but never ridiculous. Again, the ridiculousness comes when the music is juxtaposed with the comedy on-screen. We have big chorus and bombastic music to really signify the end of the world.

Both of these scores offer up a side of Henry Jackman that should increase your appreciation of what the man can do. They function as much as the film allowed them to, so on their own they feel jagged and short. When you hear them in the mix working with all the song choices and providing on point support to the on-screen antics, you will appreciate the music a lot more even if what it adds is minimal. This isn’t comedy scoring 101 and isn’t the best representation of Jackman’s abilities, but it’s damn fun.