Duplicity
James Newton Howard
" Basically there is nothing wrong with Duplicity "Written by Thomas Glorieux - Review of the regular release
James Newton Howard is becoming more and more the prominent A composer for many directors. Like several composers, James Newton Howard is on a rush job to compose one project after another. This results sadly in a problematic situation that you compose too much without having the time to refresh your mind. Duplicity is just the second in line in what will undoubtedly become another busy year for the composer.
Of course what can we expect of a crime thriller with romantic aftertastes of Clive Owen and Julia Roberts? Well, I must say I wasn't expecting such a sassy opening. "War" is cool, fresh, exciting and delightful in its rhythm and spunk. It opens this score with a light anticipation that this score could become actually something more.
The sneaky "Security Meeting" hops pleasantly along, leaving the tediousness behind. Meaning there is nothing wrong about this kind of music and I admire the sheer depth that went into it. But it just doesn't listen that inspiring. Listening at "The Ghost" and you must admit that Newton Howard puts a lot more detail into it than it deserves, but you still listen somewhat through it.
The guitar solo in "Rome Hotel", the main theme versions in "The Frame Up", the jazzy trumpet in "Split to Miami", the accordion/guitar in "Miami Hotel", the rocking "Split to Cleveland" and the exciting suspenseful rhythms in "The Formula" are all tracks you race through whether you like it or not.
However the brilliance lies sometimes where you least expect it. And "A Cream or a Lotion?" has just that. This is John Williams brilliance when the piano suddenly brings a stunning variation on the secondary theme. My god, I didn't see this one coming. The guitar during "Airport Love" is lovely too.
The conclusive "The Real Setup", the rhythmic delight of "Duplicata a Due" and the sultry "Being Bad" are nice to end the score with.
Basically there is nothing wrong with Duplicity. It is lovely, covers a bunch of highlights if you really love detail in your music and quite frankly, this is easy to like and listen to music. But we are not simple people. We want class in whatever score and we want the best in whatever situation. So in that regard Duplicity is just good and decent. If it would have deleted some 25 minutes of music, it would have even been a better experience. But alas, we are in a period where a lot of music needs to be presented whether it is warranted or not. For Duplicity it is too much, and because of that it will not linger behind that much.
Tracklisting
1. War (4.06)
2. Following Claire (2.00)
3. Security Meeting (2.49)
4. Split to Rome (2.30)
5. Tully's Letter (1.52)
6. The Ghost (2.48)
7. Rome Hotel (1.38)
8. Back to the Unit (1.44)
9. Split to London (0.47)
10. The Frame Up (2.27)
11. Split to Miami (0.49)
12. Miami Hotel (1.02)
13. Share My Fire (1.27)
14. Bench Mark (0.36)
15. Safe House (2.19)
16. Split to Cleveland (0.48)
17. The Formula (5.50)
18. San Diego Airport (1.24)
19. A Cream or a Lotion? (1.40)
20. Airport Love (1.55)
21. The Real Setup (3.12)
22. Played (1.38)
23. Duplicitá a Due (2.05)
24. Being Bad: Shana Halligan and Kiran Shahani of Bitter Sweet (3.00)
Total Length: 50.26
Of course what can we expect of a crime thriller with romantic aftertastes of Clive Owen and Julia Roberts? Well, I must say I wasn't expecting such a sassy opening. "War" is cool, fresh, exciting and delightful in its rhythm and spunk. It opens this score with a light anticipation that this score could become actually something more.
The sneaky "Security Meeting" hops pleasantly along, leaving the tediousness behind. Meaning there is nothing wrong about this kind of music and I admire the sheer depth that went into it. But it just doesn't listen that inspiring. Listening at "The Ghost" and you must admit that Newton Howard puts a lot more detail into it than it deserves, but you still listen somewhat through it.
The guitar solo in "Rome Hotel", the main theme versions in "The Frame Up", the jazzy trumpet in "Split to Miami", the accordion/guitar in "Miami Hotel", the rocking "Split to Cleveland" and the exciting suspenseful rhythms in "The Formula" are all tracks you race through whether you like it or not.
However the brilliance lies sometimes where you least expect it. And "A Cream or a Lotion?" has just that. This is John Williams brilliance when the piano suddenly brings a stunning variation on the secondary theme. My god, I didn't see this one coming. The guitar during "Airport Love" is lovely too.
The conclusive "The Real Setup", the rhythmic delight of "Duplicata a Due" and the sultry "Being Bad" are nice to end the score with.
Basically there is nothing wrong with Duplicity. It is lovely, covers a bunch of highlights if you really love detail in your music and quite frankly, this is easy to like and listen to music. But we are not simple people. We want class in whatever score and we want the best in whatever situation. So in that regard Duplicity is just good and decent. If it would have deleted some 25 minutes of music, it would have even been a better experience. But alas, we are in a period where a lot of music needs to be presented whether it is warranted or not. For Duplicity it is too much, and because of that it will not linger behind that much.
Tracklisting
1. War (4.06)
2. Following Claire (2.00)
3. Security Meeting (2.49)
4. Split to Rome (2.30)
5. Tully's Letter (1.52)
6. The Ghost (2.48)
7. Rome Hotel (1.38)
8. Back to the Unit (1.44)
9. Split to London (0.47)
10. The Frame Up (2.27)
11. Split to Miami (0.49)
12. Miami Hotel (1.02)
13. Share My Fire (1.27)
14. Bench Mark (0.36)
15. Safe House (2.19)
16. Split to Cleveland (0.48)
17. The Formula (5.50)
18. San Diego Airport (1.24)
19. A Cream or a Lotion? (1.40)
20. Airport Love (1.55)
21. The Real Setup (3.12)
22. Played (1.38)
23. Duplicitá a Due (2.05)
24. Being Bad: Shana Halligan and Kiran Shahani of Bitter Sweet (3.00)
Total Length: 50.26