Welcome back to another entry that deals with the music behind the feature films. If you missed Part 1, you can find that here. Part 2? Let’s do it.
Hardcore Henry (composed by Dasha Charusha)
Charlie Bronson
Akan’s Last Stand
1 vs 100
Hardcore Henry, for my money, is awfully shallow, and I guess I shouldn’t be all that surprised, thoughI think the setup was there to be more than it was. Still, shallow or not, it’s got a vision. It’s a film that I could see being shown in many a film class, with its dedication to POV.
It’s also a film I could see being shown, if such a thing exists, in a rave/concert setting like a DayGlow or a UltraSound. The score is very industrial, steampunk sounding, kind of surreal, and a little trippy. These are all words I’d use to describe Hardcore Henry.
Midnight Special (composed by David Wingo)
Midnight Special Theme
Truck Stop
I Think They’re Like Me
David Wingo’s Midnight Special score is not of this world in sound. Not to say it is filled with tons of zany timbres or patterns, but one listen of a few tracks, especially the eponymous title track to the film, immediately paints a picture of the oddity the viewer is about to see with its hovering piano keys and underlying synth. However, as dark and as uneasy as the title can sound, there’s always an element of safety and calm present as well.
The Jungle Book (composed by John Debney)
Sher Khan Attacks
Cold Lair Chase
Elephant Waterfall
One would hope that a score for something called The Jungle Book would be lush and colorful, like a jungle typically is. John Debney’s work here, while surely inspired by the original, feels more modern. Everyone thinks about the sung music numbers when The Jungle Book springs to mind, but the real highlights are the tracks that accompany the few action moments. They’re melodic, but also appropriately intense.
Captain America: Civil War (composed by Henry Jackman)
Siberian Overture
Henry Jackman’s opening track to Civil War (at least for the first 2:25) sounds “Frankenstein-ish” in nature, very deliberate (the Mission Report December 16th, 1991 is very deliberate) and the nightmare motif that signaled the Winter Soldier’s arrival from the prior film makes its way back here, ensuring continuity.
The Tunnel
Civil War
Cap’s Promise
Compared to his work on The Winter Soldier, Henry Jackman’s score in Civil War is a little of a slight disappointment. Much of its sound isn’t all that memorable or worth remembering, in comparison to the cuts on its predecessor that gave that movie a more thrilling feel along the lines of a spy feature. Still, there are some very good cuts, like The Tunnel and Civil War that are self-explanatory in context of the film and do a great job of giving a feeling of raised stakes, even if some of these changes and intra-squad battles may be forgotten by the time Infinity War rolls around (I actually don’t think they will be). Cap’s Promise ends the movie on an introspective, yet hopeful, note right before the main theme kicks in around 1:43.
Money Monster (composed by Dominic Lewis, co-produced by Henry Jackman)
Opening Bell
Triple Buy
High Frequency Fraud
Happens more often than you think. Yours truly having great admiration for a score but indifference to the actual movie the score appears in. There’s something about Money Monster’s modular music that adds to the overall aesthetic. Opening Bell is an attention-grabbing opening musical piece, encompassing all of the nonstop permutations, formulas, and money transactions Wall Street fields every daily second. It makes sense that this core theme is held throughout, with the only additions sometimes being a piano, a slowed pace, or some strings for the desired effect.
Photo credits go to zimbio.com, 99doing.com, Variety.com, hypetrak.com, and YouTube.com.
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I love that you”re focusing on original scores. Of the films you covered, Hardcore Henry is the only one that I remember well enough to comment on. I hated the movie, mostly because it strived only to be fun to watch and wound up being visually quite boring. But I did think the score was quite well done.
Thanks for visiting Matt! I’ve been doing this series for two years now, and though I feel some soundtracks are great, scores are what can sometimes make a movie.
Hardcore Henry is so bizarre. I thought it was average, but I can’t deny it isn’t unique and the score only adds to it’s unique oddity.
I love these posts man, some great tunes. I didn’t see the movie but I reeeeally like the music to Jungle Book! This post also reminds me that I love breaking down individual soundtracks for posts. I haven’t done one in aaaages. I think I might do The VVitch 😀
I liked the score to The Jungle Book, I actually didn’t care too much for the original…well, remade…songs.
Do it man, I think the blogosphere needs more breakdowns of soundtracks/score. Not that we have cornered the market, but I like doing these as opposed to end of year type lists.
Great post! Music can really make or break a movie but it’s not always given the proper credit.
Yes! I love being able to listen to a tune and try to figure out why it worked, or just listen to it because it is so awesome!