Michael Clayton
James Newton Howard
" And the following Oscar nominee is ... a moody underscore soundtrack "Written by Thomas Glorieux - Review of the regular release
James Newton Howard's 2007 was a successful year on many parts. Out of 6 tittles, 6 received a score release which says something of the composer's status today. 2 of them were heralded and praised for various reasons and 1 received an Academy nomination for best motion picture score of 2007. Why it had to be Michael Clayton to fall upon that honor has nothing to do with the music and everything to do with the movie.
It's been proven that the Academy members have a very limited knowledge, at least the last couple of years. They don't know a good score when it bites them in their ... and they pick the score that functions the best in a great movie instead. And they choose it because it supports a great movie. I'm not saying any of the scores James Newton Howard has written this year qualify for Academy Oscars, but don't pick a score because it's from a good movie. They've done it multiple times before and it seems they haven't learned from their mistakes.
To call Michael Clayton bad or unworthy depends on what you're looking for in a score. You want memorable music? Then I guess you can pick dozens of others Newton Howard scores. You want a favorable effective background score? Then Michael Clayton will suffice all your needs. But is it enough? No, especially if you know there is better background music out there, especially from Newton Howard.
"Main Titles" begins with a building structure, growing with additional orchestra and electric guitar straight into "Chinatown", that continues to present a floating otherworldly effect, especially through the assistance of beats and meandering effects. Sadly for the remainder of the time, we are left to these effective mood pleasers. Bells and electronics defy "Drive to the Field", a beat and effects make "Just Another Day" sound like something that was around in the 80's, all the while "Meeting Karen", "Looking for Arthur" and "U North" present absolutely nothing worth mentioning. The light tranquility of "Arthur & Henry" does sooth for whatever reason. But is this what makes music nominated? No, and one must ask himself if this is even music that's worth releasing as well? Perhaps the ending will explain it for us.
Well, perhaps. Even though its nothing earth shattering, it's at least way more interesting than the first part. "Times Square" delivers the same building structure of the begin, and suddenly becomes interesting through a more than interesting finale, "Mr. Verne" is enticing now because the suspenseful feel presents us something that's alive and kicking, and "I'm not the Guy you Kill" comes over as the most important track of the score. This because the building structure of the entire track now leads to a satisfying conclusion.
The finale "25 Dollars Worth" has even the honor of presenting us for the first time piano, this over noticeable string maneuvers. Nothing memorable at first but they sound remarkable, especially after having to listen to a moody experimental score for almost the entire duration. In fact due to the lackluster moody underscore of the first 9 pieces, tracks like 11 and 13 battle the dreary bleak tone of the score, making them highlights in this particular context. But this doesn't mean that Michael Clayton is worthy of this Academy honor. Not only because we've heard so much better of James Newton Howard this year, but also from other composers too. Of course Oscar members think they know what they're doing so I'm gonna give them the benefit of the doubt. And trust me, doubt them I will.
Tracklisting
1. Main Titles (2.11)
2. Chinatown (2.27)
3. Drive to the Field (1.34)
4. Just Another Day (2.19)
5. Meeting Karen (2.45)
6. Looking for Arthur (1.40)
7. U North (1.49)
8. Arthur & Henry (2.11)
9. Times Square (3.37)
10. Mr. Verne (2.27)
11. I'm not the Guy you Kill (6.56)
12. Horses (2.13)
13. 25 Dollars Worth (6.26)
Total Length: 38.42
It's been proven that the Academy members have a very limited knowledge, at least the last couple of years. They don't know a good score when it bites them in their ... and they pick the score that functions the best in a great movie instead. And they choose it because it supports a great movie. I'm not saying any of the scores James Newton Howard has written this year qualify for Academy Oscars, but don't pick a score because it's from a good movie. They've done it multiple times before and it seems they haven't learned from their mistakes.
To call Michael Clayton bad or unworthy depends on what you're looking for in a score. You want memorable music? Then I guess you can pick dozens of others Newton Howard scores. You want a favorable effective background score? Then Michael Clayton will suffice all your needs. But is it enough? No, especially if you know there is better background music out there, especially from Newton Howard.
"Main Titles" begins with a building structure, growing with additional orchestra and electric guitar straight into "Chinatown", that continues to present a floating otherworldly effect, especially through the assistance of beats and meandering effects. Sadly for the remainder of the time, we are left to these effective mood pleasers. Bells and electronics defy "Drive to the Field", a beat and effects make "Just Another Day" sound like something that was around in the 80's, all the while "Meeting Karen", "Looking for Arthur" and "U North" present absolutely nothing worth mentioning. The light tranquility of "Arthur & Henry" does sooth for whatever reason. But is this what makes music nominated? No, and one must ask himself if this is even music that's worth releasing as well? Perhaps the ending will explain it for us.
Well, perhaps. Even though its nothing earth shattering, it's at least way more interesting than the first part. "Times Square" delivers the same building structure of the begin, and suddenly becomes interesting through a more than interesting finale, "Mr. Verne" is enticing now because the suspenseful feel presents us something that's alive and kicking, and "I'm not the Guy you Kill" comes over as the most important track of the score. This because the building structure of the entire track now leads to a satisfying conclusion.
The finale "25 Dollars Worth" has even the honor of presenting us for the first time piano, this over noticeable string maneuvers. Nothing memorable at first but they sound remarkable, especially after having to listen to a moody experimental score for almost the entire duration. In fact due to the lackluster moody underscore of the first 9 pieces, tracks like 11 and 13 battle the dreary bleak tone of the score, making them highlights in this particular context. But this doesn't mean that Michael Clayton is worthy of this Academy honor. Not only because we've heard so much better of James Newton Howard this year, but also from other composers too. Of course Oscar members think they know what they're doing so I'm gonna give them the benefit of the doubt. And trust me, doubt them I will.
Tracklisting
1. Main Titles (2.11)
2. Chinatown (2.27)
3. Drive to the Field (1.34)
4. Just Another Day (2.19)
5. Meeting Karen (2.45)
6. Looking for Arthur (1.40)
7. U North (1.49)
8. Arthur & Henry (2.11)
9. Times Square (3.37)
10. Mr. Verne (2.27)
11. I'm not the Guy you Kill (6.56)
12. Horses (2.13)
13. 25 Dollars Worth (6.26)
Total Length: 38.42