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Actually, I was referring to the Superman march rhythm. The D'Artagnan theme is a take on that . It's a good score nonetheless. In the movie, it was dialed down much more than it should have been and much of the bombast was lost.

Ah, that. Well, it's a pretty basic rhytmic figure for fanfaric stuff. I heard the exact same thing in Don Davis' THE MATRIX, in the scene when Trinity is about to jump from the roof of a building. When I saw that for the first time, I could have SWORN that the SUPERMAN theme was coming as she flew of the roof. Listen from 3:26 here:

http://www.youtube.com/watch?v=NPtk7mweahY

What you are referring to is a composer hitting the sync points. Some people mistakenly call it mickey mousing. I actually love that type of scoring as it's what makes film music unique.

I don't think Kamen recorded anything but Justin might have something else to say on the matter.

BTW, I think The Avengers is a fantastic score. Here is my custom made suite
http://www.youtube.com/watch?v=IZh3k4MxxwU

-Erik-

Yes, that's it. Sync points. One of the main thing that turned me off slightly to golden age orchestral soundtracks in the beginning. I don't mind mickey mousing though, when it's for a specific genre, like cartoon. I prefer the European approach of scoring the scene, not the moment, though I love it when a score can successfully utilize both approach. The Avengers is not one of those scores.

The Painted Veil - Alex Desplat

Something about this really touches me. Probably my favourite Desplat.

An understandable feeling.

It's a superb score, one of his best in the 2000's, for Tim Burton's most adult film to date. The Americana music (part pastoral, part quirky) has a certain Thomas Newman feel, I think. I love Eddie Vedder's "Man of the Hour" too.

Fantastic score this one.

Hans Zimmer - Broken Arrow

I really like this score, probably Hans's most stylish action work in his career. Mostly melodic, highly electronic, with tongue firmly in cheek. I love the thematic material and some of the action. I don't care much for some of the underscore (I'm listening to the complete La-la-land edition), but still in the action department, I actually regard this one as one of his best.

Didn't like this very much back in the day, but now I love it. The slowness, the quirky saloon cues, everything.

And its cousin, Quigley Down Under?

Ramin Djawadi - Medal of Honor

Listening to the La la Land box set version. A good score, probably Djawadi's best. Great theme, good emotional performance. The rhythms are pretty amazing. I love the ethnic stint and the general atmosphere. What I also love is how restrained Djawadi went here. There is no sense of being epic here and the main theme is more of a dirge/requiem-type than the outward Americana of the previous scores in the series.

Of course it's never as good as what anything Giacchino and Lennertz have done, but still I don't think it should be judged in context of the previous scores in the series (mostly masterpieces!), because it's a modern franchise reboot. The game (not as bad as people might think) is a realistic depiction of modern warfare (maybe even more realistic than the Call of Duty Modern Warfare games, though nowhere close story-wise) and it needed a more modern sound.

Heroes Aboard is singularly Ramin Djawadi's best tracks on many levels, from technique to emotions.

3,5 stars, could have been better but still it's the best reworking of Black Hawk Down ever to come from this studio.

thank you for the fair review. i like this score too. it has a very good main theme, perfect for the context of the game. i also love this middle eastern sound with the soloinstruments and solovocals. he got the tone of the game right, for me the most important aspect. maybe it's a more simple compostion than the other scores, but who cares. this kind of score ist perfect for such an scenario and it makes the situation more realistic than an overblown orchestral powerhouse score.

Well, there's much more music in the videogame than in the CD release. Still, what we got in the CD is pretty good.

NP: Monte Carlo - Michael Giacchino



At least The Family Stone had a memorable main theme. MG should stick to big stuff, because this style doesn't suit him at all. It just sounds like everything else.

City Hall - Jerry Goldsmith

This is fabulous, probably his most underrated score. "The Meet" is one of my single favourite pieces of Goldsmith - I know it has more than a hint of On the Waterfront about it, but in my book that can never be a bad thing. I don't recall hearing a more vibrant evocation of bustling city life.