Here's the tracklist:

1. Remember, Remember
2. Fingermen
3. V Storms - The TV Tower
4. Governments Should Be Afraid Of Their People
5. Evey’s Story
6. Lust At The Abbey
7. Gordon’s Secret
8. The Red Diary
9. Evey Processed
10. Valerie
11. Evey Reborn
12. England Prevails
13. 1812 Overture Vendetta Version
14. How Freedom Was Lost
15. The Dominoes Fall
16. Knives And Bullets
17. The People Stand Up

Cheers,

Also, online retailers here in the U.S. are showing a March 21st release date.

P.S. Those same retailers are saying Astralwerks Records for the label (which has me questioning validity, this is a label more commonly known for releasing techno artists and soundtracks to independent films).

quote:

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Originally posted by nuts_score:
Thank you Steve. I don't care what Peter says about you, you're a good guy. LOL.

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Ha! I forgive you, Pete!

As for the EMI question, no idea - sorry! It says EMI on HMV's website and that's about as much as I know!

quote:

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Originally posted by PeterK:
Huh, me! What?

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Yes . . . it was freaking you! Ok?! Gosh falootin' PK, you're a difficult bastard. Now you must send me a free copy of Marianelli's Vendetta score when it comes in; you owe it to me for your impatience (six hours later you're still asking if it was you I was refering to!).

March 21st, Astralwerks Records, 10 score cues from Dario Marianelli and three songs (hopefully in the film).

Natalie Portman is always good to watch though the blend of politics and story that the W Bros. had better down in the first Matrix film doesn't come off nearly as well here.

Sure, I agree with the film's politics and it's neat to see a film that doesn't even try to obscure its dislike for conservatives, but it really is a comic book, a Revolution Primer for Pre-schoolers. The enemy is too black & white, the film's unreal & propped-up targets too easy to hate and dismiss. Somehow, the whole thing just can't be taken seriously although it deals with topics which are no joke (like government-sponsored torture). The images of mass graves combined with swashbuckling heroics and horny bishops seem to trivialize the real horror of all the situations. The film is a fantasy of revolution, of people rising against oppression, but all they have to do is hear some well-written agit-prop, show up in masks, and watch some fireworks. Even though I'd like to cheerlead it, there's something irresponsible about the whole project.

Still, if nothin else, it's a film that reminds us (again) of two very relevant items: 1) that the West is becoming increasingly fascist and 2) that it is using the media to create fear in people so they'll turn to power to protect them. Of course, this is old hat stuff for those who are on the ball, but it's nice to see it filter down to a teen movie.

As for the score, all I can do is comment on it based on how it is used in the film as opposed to what it might sound like on a CD.

Unfortunately, DM seems to be following in the Horner style of crescendos and loud long-held chords in place of any real music. The mix turns the scoring volume up way past where it should be and DRAMA comes out horribly unsubtle, in all caps, bold face, italics, and underlined.