Far Cry
Jessica de Rooij
" A nice little surprise. "Written by Thomas Glorieux - Review of the limited release
The goal of director Uwe Boll is to make a movie of any game that has been released since the last couple of years. While this sounds like a wonderful idea, it is the execution that literally gives fans of the games painful nightmares. He began this atrocity several years ago with House of the Dead, followed by Alone in the Dark, Bloodrayne, Dungeon Siege, the follow up Bloodrayne II. Now comes Far Cry, a game (highly respected for its visual engine) that made the breakthrough to games such as Crysis, is now the latest in line to give us all another insanity check.
Frankly I stopped after Alone in the Dark considering I could make a better movie myself. Luckily Uwe Boll did one thing right, he hired a promising composer to give the movies at least an epic level of sophistication. For Bloodrayne II it was absolutely boring, but Far Cry surprisingly rewarding.
Being one year younger than me, Jessica de Rooij shows a significant amount of potential. Checking out Far Cry it shows a typical run of the mill action score, albeit with the wonderful surprise that it holds more Bond sounding material than David Arnold's latest Bond score. Again, her music is more or less the same like most of today's action music, but the ideas sure give us a reason to follow de Rooij's career with some interest.
Opening with "Car Chase", it soon melds into a rhythmic tense and brassy affair, giving you a sound like we heard in Bates' Doomsday. While this is typical, it are the ideas and string work surrounding the action that capture our attention.
The suspenseful moments aside in "The Catch" and "The Camp", the album is a pretty enjoyable listen. The uplifting fare in "Whales" as its string sound in "Love Theme" is quite a surprise for an album as this. Yet what I love the most is when de Rooij shows us something that can inspire us to hear her work all the more. Potential that can grow into something strong.
Watch out for the action ideas in "Factory Chase" that has rhythm but keeps a sense of development into her music. Even better is "Max Kill Attack". It starts rather unpromising, yet soon it turns into Beltrami strings, Bourne mood and fine ideas that show more interesting sounding Bond material than Arnold's QOS score of late. Without pushing the pedal to the medal, this is a track that shows there is hope for Boll's movies.
It is however clear after several listens that Far Cry is heavenly influenced by the Bourne music of John Powell. So I guess people who like to hear something similar will find much to like hear. Again as said, it is more suspense than action and yet it doesn't end up in chaos. Here lies the quality of Far Cry. It gives us a suspense score with various extremely good ideas, layered in a little too much Bourne-like setting. The sum of its parts is that it is a nice little surprise.
Tracklisting
1. Car Chase (4.46)
2. The Catch (1.52)
3. Jack Hides in the Forest (1.19)
4. Whales (1.51)
5. Factory Chase (3.45)
6. Brainless Monsters (1.54)
7. Boat Explosion (0.49)
8. Love Theme (1.53)
9. Camp (2.00)
10. Max Kill Attack (5.39)
11. The Key (1.21)
12. The End of Dr. Krieger (2.41)
13. The Escape (0.42)
Total Length: 30.38
Frankly I stopped after Alone in the Dark considering I could make a better movie myself. Luckily Uwe Boll did one thing right, he hired a promising composer to give the movies at least an epic level of sophistication. For Bloodrayne II it was absolutely boring, but Far Cry surprisingly rewarding.
Being one year younger than me, Jessica de Rooij shows a significant amount of potential. Checking out Far Cry it shows a typical run of the mill action score, albeit with the wonderful surprise that it holds more Bond sounding material than David Arnold's latest Bond score. Again, her music is more or less the same like most of today's action music, but the ideas sure give us a reason to follow de Rooij's career with some interest.
Opening with "Car Chase", it soon melds into a rhythmic tense and brassy affair, giving you a sound like we heard in Bates' Doomsday. While this is typical, it are the ideas and string work surrounding the action that capture our attention.
The suspenseful moments aside in "The Catch" and "The Camp", the album is a pretty enjoyable listen. The uplifting fare in "Whales" as its string sound in "Love Theme" is quite a surprise for an album as this. Yet what I love the most is when de Rooij shows us something that can inspire us to hear her work all the more. Potential that can grow into something strong.
Watch out for the action ideas in "Factory Chase" that has rhythm but keeps a sense of development into her music. Even better is "Max Kill Attack". It starts rather unpromising, yet soon it turns into Beltrami strings, Bourne mood and fine ideas that show more interesting sounding Bond material than Arnold's QOS score of late. Without pushing the pedal to the medal, this is a track that shows there is hope for Boll's movies.
It is however clear after several listens that Far Cry is heavenly influenced by the Bourne music of John Powell. So I guess people who like to hear something similar will find much to like hear. Again as said, it is more suspense than action and yet it doesn't end up in chaos. Here lies the quality of Far Cry. It gives us a suspense score with various extremely good ideas, layered in a little too much Bourne-like setting. The sum of its parts is that it is a nice little surprise.
Tracklisting
1. Car Chase (4.46)
2. The Catch (1.52)
3. Jack Hides in the Forest (1.19)
4. Whales (1.51)
5. Factory Chase (3.45)
6. Brainless Monsters (1.54)
7. Boat Explosion (0.49)
8. Love Theme (1.53)
9. Camp (2.00)
10. Max Kill Attack (5.39)
11. The Key (1.21)
12. The End of Dr. Krieger (2.41)
13. The Escape (0.42)
Total Length: 30.38