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Cluster Reviews #02

In this digitally printed episode of Cluster Reviews I’d like to focus on a few scores that one might describe as ‘beautiful’. The spotlight is on Mark McKenzie’s Max & Me, Roque Banos’ The Miracle Season, Laurent Eyquem’s Nostalgia and a re-release of the compilation The Complete London Sessions by Georges Delerue. So sit back, relax, close your eyes and … open your eyes to read the reviews.
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Cluster Reviews #01

I’ve been listening to more soundtracks than I’ve been able to review. So here is an attempt to catch up with at least a few of them. You’ll see more of these so-called Cluster Reviews over the next few weeks, as I’ve got soundtracks coming out of my ears with very little time to write extensive reviews for each and everyone of them. So, included in this Cluster are scores like The Titan, Life of the Party, The Sinner and Pickpockets. Read more…

Mary Shelley (Amelia Warner)

I loved Frankenstein as a kid; the book, I mean. It’s a fascinating read. Imaginative, compelling, disturbing, yet full of sympathy. Equally fascinating it its author’s live. Mary Shelley’s experienced her own fair share of drama. She suffered several miscarriages, her husband drowned during a sailing trip, and Mary herself spent the last decade of her life ill, likely from a brain tumour. Not mentioning the constant debt and, for some reason, not fully fitting into society. Now, there have been plenty of films based on Shelley’s more famous novel, so it’s nice to see that there’s a film about the author itself, though it’s sad to see the film is being poorly received.

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The Mercy (Johann Johannsson)

Jóhann Jóhannsson left this world too soon. He was born in Reykjavik in 1969 and died earlier this year in Berlin. His legacy includes a short, but impressive list of film scores such as the Golden Globe-winning Theory Of Everything, Sicario, Arrival and Prisoners. He was initially set to score Blade Runner 2049 for frequent collaborator Denis Villeneuve, but they amicably departed as Jóhannsson’s score allegedly didn’t fit the film. The composer also worked on Mother, but it seems that the composer himself thought the film would work much better without music. Prior to his death, Jóhannsson worked on several films whose scores, unintentionally, now serve as a coda to Jóhannsson’s life.

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Ready Player One & The Avengers’ Infinity War (Alan Silvestri)

Oh what a year to be an Alan Silvestri fan! We’ve had two massive, orchestral scores back to back; one of which was for a Steven Spielberg movie. Yes! Spielberg, you read that correctly. And if nothing else, there is still the fantasy-drama The Women of Marven for frequent collaborator Robert Zemeckis to come. For now, let’s focus on Ready Player One and The Avengers: Infinity War. Both are quintessential, big, bold and brash Silvestri scores. Yet, it’s got to be said that one is a lot more enjoyable than the other.

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