Scores for films these days have become canned sounding and typical. When I was a kid (1970s) soundtracks used to be as important as every other element of the film and not simply something slapped on by some score jockey to make the film complete. Decades later I still enjoy the score to Star Wars, A Clockwork Orange, Superman, Akira, etc... I remember back in the day even garbage films would have a decent score. Time Rider and Remo Williams are 2 examples. Today this is no longer the norm and dozens and dozens of BIG FILM scores come and go and I leave theaters having not noticed the music at all. Once in a while I am surprised. Recent films like There Will Be Blood, Code 46, and most recently MONSTERS all had decent music scores. The social network is no exception, delivering, in my opinion, one of the finest scores to come along in quite some time. That the score stands alone on its own as listenable, tangible music, long before I have even seen the film is testament to its power...Read more
Scores for films these days have become canned sounding and typical. When I was a kid (1970s) soundtracks used to be as important as every other element of the film and not simply something slapped on by some score jockey to make the film complete. Decades later I still enjoy the score to Star Wars, A Clockwork Orange, Superman, Akira, etc... I remember back in the day even garbage films would have a decent score. Time Rider and Remo Williams are 2 examples. Today this is no longer the norm and dozens and dozens of BIG FILM scores come and go and I leave theaters having not noticed the music at all. Once in a while I am surprised. Recent films like There Will Be Blood, Code 46, and most recently MONSTERS all had decent music scores. The social network is no exception, delivering, in my opinion, one of the finest scores to come along in quite some time. That the score stands alone on its own as listenable, tangible music, long before I have even seen the film is testament to its power...Read more