X-Men: Days of Future Past

John Ottman

 
" The Singer / Ottman X-Men return, though better in the movie than on CD "

Written by Thomas Glorieux - Review of the regular release

The X-Men are back. At least when they were young. But sometimes future and past collide, giving the wonderful combination of every (well most of) X-Men possible in one single film. That was the general idea behind X-Men: Days of Future Past, a film that brings back Brian Singer to the franchise which he himself so successfully started many years ago. Though Matthew Vaughn did a bang up job with First Class, it's nice to see another master at work again. And the success of the X-Men doesn't lie. People loved the idea of James McAvoy vs Patrick Stewart, Michael Fassbender vs Ian McKellen, and the return of Hugh Jackman as the one and only The Wolverine.

Though the movie isn't as action packed as expected, it's a solid strong ride that offers many fine moments for the actors. Most notably the younger generation. However, as the younger generation was supported through Henry Jackman's entertaining enough score (X-Men: First Class), the return of Henry Jackman wasn't an option the moment Brian Singer was brought on board. Because he only works with his editor / composer John Ottman. And rightfully so, because many people might not admit it, but he did a good job on X-2. The only question for me was, would he be allowed to return with his ideas?

Of course he was, because Bryan Singer is that type of director. And it immediately shows us what I wanted in "The Future / Main Title". Namely the return of his infectious main theme (which some people called a Lifefore influenced theme, honestly I never would have thought about it if some people didn't mention it). What I do hear is the now overtly used horn of doom sound and a lot of electronic enhancement that doesn't really enhance the theme, but actually diminishes it (I prefer the kick ass untempered versions in X2). The second track is a combination of the very moody 'future' music vs ferocious action music that has typical but powerful enough choral oomph. The suspenseful music I'm not that fond off.

And frankly, I'm not that fond off many bits of X-Men: Days of Future Past. I can live with the nice enough hope theme of Charles Xavier (basically a reprise of Hans Zimmer's Time theme of Inception) in "Hope (Xavier's Theme)", a theme that returns a couple of times, including as a much more enjoyable encore in the end credits cue "Welcome Back / End Titles". Now there's a powerful and engaging moment. But it's the end credits, so there it's allowed to make the music a bit more engaging. The theme returns in "I Found Them", "He Lost Everything", "All Those Voices" and "Contacting Raven".

But in general, during a considerable middle part, the music feels too uninspired and too dull. Falling into the inevitable trap that most composers find themselves in today, namely delivering sound design and not actually music that could move you. The angry sfx that add the tension to the action feel too bleak in "Saigon / Logan Arrives", giving the distinct impression Mystique doesn't deserve the same colorful music as she got in X2. I know, she is lost in this film, but this kind of ugly electronic ?music? reminds me sadly more of Captain America: Winter Soldier than Ottman's very own X-men sound. A colorful outing that could have been given to "Pentagon Plan / Sneaky Mystique" as well, an opportunity to present the same vocal like music he did for pretty much the same sequence in X2 ("Sneaky Mystique""). Alas, no color here. A bit of sprightliness barely salvages "Springing Erik", eeriness defines "How Was She?" and perhaps the biggest disappointment comes during "Paris Pandemonium", a defining moment in the film where all the masks fall off. Ottman is content by letting it remain bleak and gritty, never overpowering the situation or by throwing emotions on the flame. It's in situations like these X2 rose to the occasion (remember "Farewell"). The Trevor Rabin moment at 3.10 comes out of nowhere as well.

And sadly, this continues for most of the time. "Rules of Time" is an absolute bore, adding not even a single second of worthiness. Fortunately, a moment of some relief comes during "Time's Up", basically because there's a sense of musical continuation. Jackman's theme for Magneto returns powerfully enough at the end of the cue, showing there's a sense of thought and respect for the work of someone else. I agree, it's hardly the next best thing, but at least it makes an impression here (just like it did in First Class). Sadly Horny (horn of doom) returns in "The Attack Begins", alongside very creepy sfx and simply dark uninteresting action music. For the definitive fight, the fight that rests on the shoulders of a simple person, you would expect something more emotionally engaging (a bit like several portions of "Join Me" and "Do What You Were Made For"), but no that's not the case.

Frankly nearly the entire score is devoid of that emotion, of any color. What's left of excitement is filler music that doesn't even dare to raise the bar, but keep it functional. There's a reason why the music is functional in the film. Because it becomes a part of the sound design that defies the film. In general, I hate these types of scores, because they don't do nothing to elevate the film to what could have been. And the reason why the movie remains a strong and interesting watch is because we have a bunch of actors in front of us who portray just amazingly cool characters. They are what makes the film memorable. Not the music anymore. That part is not important anymore for most people. But coming from John Ottman, it comes as a surprise considering he didn't let it slip on X2 or Superman Returns. Frankly X2 wasn't the greatest score, but that one had ideas. This one has bleak nothingness, and it takes over the future of the X-men more than the sentinels in the film.

What a disappointment.

Favorite Moment - Welcome Back / End Credits (3.35 - 3.53)
A moment of power and excitement, leave it up to end credits to partially save the experience.

Track Listing

1. The Future / Main Title (2.45)
2. Time's Up [Original Version] (4.18)
3. Hope (Xavier's Theme) (4.48)
4. I Found Them (2.51)
5. Saigon / Logan Arrives (04:36)
6. Pentagon Plan / Sneaky Mystique (3.24)
7. He Lost Everything (1.51)
8. Springing Erik (3.33)
9. How Was She? (1.46)
10. All Those Voices (3.18)
11. Paris Pandemonium (7.44)
12. Contacting Raven (1.48)
13. Rules of Time (3.07)
14. Hat Rescue (1.29)
15. Time's Up [Film Version] (3.33)
16. The Attack Begins (5.03)
17. Join Me (3.20)
18. Do What You Were Made For (2.56)
19. I Have Faith in You / Goodbyes (2.27)
20. Welcome Back / End Titles (3.57)
21. Time in a Bottle: Jim Croce (2.26)
22. The First Time Ever I Saw Your Face: Roberta Flack (5.19)

Total Length: 76.19
(click to rate this score)  
 
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(total of 14 votes - average 2.54/5)

Released by

Sony Classical 88843055832 (regular release 2014)

Conducted by

Jeffrey Schindler

Orchestrations by

Rick Giovinazzo, John Ashton Thomas & John Ottman