Anyway, got it today, and have given it one listen, and I quite like it. Very dissonant, almost Goldenthal-esque at parts w/the brass and such, but posessing enough rythmic bits (kinda Elfman/POTA-esque) to genuinely excite.

Not as complex as something like Goldenthal, but impressive nonetheless. Love the apocolyptic/militaristic feel of it all.

"Meet Van Zan" stood out most on first listen, though I really dug a number of the highly frantic string bits, which are truly exciting.

Anyhow, what do you think?

Never underestimate the power of laziness. A big-budgeted dragon flick comes out and I don't even see it -- what's up with that? Well, I suppose I should give myself a bit more credit; opening to lukewarm reviews and a less than stellar response from audiences worldwide, perhaps it was simply my fear of (yet again) being disappointed in a flick that looked potentially badass (and keep in mind I generally refrain myself from using the word, as few things justify its -over-usage). Anywho, here I was a few weeks after the film's release, and as the CD arrived on my doorstep, I shouted with glee.

Of the many up and coming Hollywood film composers, I must say Edward Shearmur is near the top of my list. With his minimilist, Thomas Newman-esque <b>K-Pax</b> and his thematically driven adventure score for <b>The Count of Monte Cristo</b>, he has, at the least, failed to unimpress, and this day in age that's saying quite a bit.

Now, chances are, if you've heard a small amount of Shearmur's work and have gotten a good sense of the man's style, <b>Reign of Fire</b> will come off as less than a surprise. It is, essentially, what I would have imagined Shearmur would have done with the project, had I even attempted to think about it before it's actual release. Apocolyptic and militaristic in feel, it at times feels a bit too anonymous for its own good, but nonetheless succeeds in generating both fun and excitement.

Stylistically, the score borrows from composers such as Elliot Goldenthal and Danny Elfman, but by the same token this isn't exactly a score I expected to be brimming with innovation and originality. Probably temped with a good dozen scores or so, I'll give Shearmur the benefit of the doubt and simply judge it on its own merits. In short, it suceeds, albiet (other than a moment or two -- "Meet Van Zan", for example) never blowing the listener away.

For starters, those who dislike dissonant compositions will probably want to steer clear of <b>Reign of Fire</b>; more accessible than Goldenthal, not as complex, and ultimately not quite as rewarding. Shearmur's action set pieces (of which there are quite a few) consist primarily of metallic, rythmic percussion, usually layered by shrill, frantic strings, and are generally adreniline pumping and quite arousing. Often his utilization of bizzare instruments and percussion make for an odd soundscape, but as I can only guess make for an appropriately eeire contrast in the film itself, so all is well.

A little less impressive are the more dramatic moments, if you will, that pop up spontaniously and act as little more than a breather. "Dawn Burial" is potentially moving but ultimately an average little piece, and the conculding track "Rebirth" simply oozes with that cornball "it's over" feeling, but at their worst they're still entirely listenable.

Varese's album basically runs at a smooth 50 minutes, and in truth there isn't really a whole lot to say. It's dissonant and rough around the edges, but still maintains a consistency and has one or two astonishing cues. Those looking for a melodic score in the vein of <b>Monte Cristo</b> need not bring in their expectations, for inevitably they will be betrayed, but for those who are curiously aroused at the thought of a score that's a bit of a mix between 2001's <b>Final Fantasy</b> and <b>Planet of the Apes</b> (though not quite as good as either) ought to check this one out.

Oh yeah, one last thing -- from the trailers and various footage of the film I've seen on the tele and such, what's with the orange color pallate on the cover? A grayish tone would be more suitable for the film and the music. Regardless, a winner overall.

Robert Elhai orchestrated this monstrous (pardon the pun) score, which is probably why you can hear the Goldenthal-like influence.

quote:

---

Originally posted by Hasta:
what's with the orange color pallate on the cover?

---

What's the color of fire?

Ryan

quote:

---

What's the color of fire?

Ryan

---