Director Neil Jordan (THE CRYING GAME) injects the standard revenge saga with new life by asking difficult questions about the meaning of courage in his thriller THE BRAVE ONE.Simply isn't enough energy in the music to sustain interest throughout,ĭespite its qualities. Obviously I must keep saying that the film is very different, but there Gasps that perhaps Desplat's forays into this kind of thing did
New side to the composer, but it certainly doesn't bring the kind of
Of his least satisfying score albums to date. Gloomy portrait probably works very well in the film, but sadly is one You may as well listen to Powell himself if you want that sort of thing. Only when John Powell makes an unexpected appearance ("Car Jam" is a Bourneĭescendant if ever I heard one) is there a bit more life but frankly It's effective enough, but I can't helpīut wonder whether he may have been able to inject a little more life,Ī little more variety into it. On ad nauseum - Marianelli is too refined a composer to allow that -īut the suspense material in between is cut from a very small cloth,īeing highly repetitive. Percussion playing its way around the orchestra. Rather uninspired thriller music with the over-familiar electronic Not long before the score's main feature is revealed, and sadly this is vaguely Herrmannesque - suspense music follows. It opensīeautifully, with the lovely guitar theme "Erica", and some orchestral Slightly austere score which is anything but fun. Marianelli - to an extent - keeps them on, and has written a brooding, Slightly by letting off the shackles and having a lot of fun, Whereas Desplat seemed almost to be liberated Is probably a little more serious than those two at least, its music Scoring an action thriller, seemingly cast against type - but I guess The Brave One a young composer known for his elegant music for serious films Perhaps there is a slight parallel here to when Alexandre Desplat scored Hostage and Firewall Goldenthal, but his apparent exile from film scoring (punctuated onlyīy his music supervision and brief score for his partner's Across the Universe musical) shows no sign of ending, so instead the director turned to one of today's most promising composers, Dario Marianelli. Michael Winner means it is probably a little deeper than that.įor several years, Jordan worked exclusively with composer Elliot
One assumes that the rather marked difference between Jordan and While some reviews have likened it to Death Wish, Revenge after her fiancé is killed during a brutal attack. Sees Jodie Foster play a woman who turns vigilante as she goes out for
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