This dank-as-style contemporary film noir features most of the genre's familiar ingredients: murder, creepy characters, narrative flashbacks, an identity crisis or two, and a compelling if twisted subculture, in this case ... more »the scaly underbelly of the L.A. some speed freaks call home. While the genre has generally relied on dark jazz shadings--or, in the case of David Lynch and Angelo Badalamenti, a hodgepodge of hellish synthscapes and nostalgic irony gone sour--the presence of Thomas Newman here guarantees something more expansive than clichés, and the young veteran delivers again. Newman's odd, percussion-reliant tack may occasionally be familiar here, but the score's unusually large ensemble allows him a wide timbral palate. He wastes no time infusing the score with jarring industrial rhythms, indistinct ethnic modalities that seem invented out whole cloth, some of Erin Brockovich's spare, Fender Rhodes-driven acid jazz shadings, and great, eerie dollops of the ominous, electro-acoustic soundscapes that have defined so many of his scores, yet without ever descending into caricature. Newman mixes it all into a hypnotic sonic cocktail that's as nervy as it is unsettling, one that zigs when you're sure it will zag, offering up some strangely reassuring musical comfort in a world of moral indifference and dramatic detachment. -?Jerry McCulley« less
This dank-as-style contemporary film noir features most of the genre's familiar ingredients: murder, creepy characters, narrative flashbacks, an identity crisis or two, and a compelling if twisted subculture, in this case the scaly underbelly of the L.A. some speed freaks call home. While the genre has generally relied on dark jazz shadings--or, in the case of David Lynch and Angelo Badalamenti, a hodgepodge of hellish synthscapes and nostalgic irony gone sour--the presence of Thomas Newman here guarantees something more expansive than clichés, and the young veteran delivers again. Newman's odd, percussion-reliant tack may occasionally be familiar here, but the score's unusually large ensemble allows him a wide timbral palate. He wastes no time infusing the score with jarring industrial rhythms, indistinct ethnic modalities that seem invented out whole cloth, some of Erin Brockovich's spare, Fender Rhodes-driven acid jazz shadings, and great, eerie dollops of the ominous, electro-acoustic soundscapes that have defined so many of his scores, yet without ever descending into caricature. Newman mixes it all into a hypnotic sonic cocktail that's as nervy as it is unsettling, one that zigs when you're sure it will zag, offering up some strangely reassuring musical comfort in a world of moral indifference and dramatic detachment. -?Jerry McCulley
CD Reviews
Incredible Stuff
Shyam | Chennai, India | 09/25/2002
(4 out of 5 stars)
"I had initially bought this album for Terence Blanchard's rendition of 'Saeta'. But the rest of the album is mind blowing in itslef, dark, moody. has almost a rugged ambient feel to it.This is my first album, of thomas newman, surely not going to be the last. Its a great record, buy it after u see the movie."
One of thomas newman's best
Shyam | 07/20/2002
(5 out of 5 stars)
"I never saw [or really heard of] this film, but as I hear more and more contemporary film scores, Thomas Newman sticks out as the most interesting composer so far, with the most imagination --- and in this score a multiplicity of new ideas are on display. It's just exciting, and fresh... close to what classical music might have been if after serialism it hadn't been straightjacketed within minimalism for so long. The score for "In the Bedroom" is interesting in the same way."
"double life and revenge delivers a graphic score"
J. Lovins | Missouri-USA | 05/08/2002
(4 out of 5 stars)
"Thomas Newman (who is from a family of composers ~ Alfred Newman of 20th Century-Fox was his father) takes this score to another level of which I've not seen before. With previous films to his credit ~ "In The Bedroom"(2001-wonderful score & film), "Pay It Forward"(2000-fair score), "Erin Brockovich"(2000-outstanding score & film), "Green Mile"(1999-good score), "American Beauty"(1999)-outstanding score, nominated by the Academy & Golden Globe for Best Original Score), "Little Women"(1994-wonderful score & film), "The Shawshank Redemption"(1994-powerful score and one of my all-time favorite films) and "Fried Green Tomatoes"(1991-another wonderful film with score to match) ~ Thomas Newman has become a constant name in the films of today, as far back as 1984. With director D.J. Caruso, screenwriter Tony Gayton and composer Thomas Newman, we experience each character on the screen. This tense and moody story has a cast of players to match ~ Val Kilmer(Danny Parker), Peter Sarsgaard(Jimmy the Fin) and Deborah Kara Unger (Colette) ~ a modern day film noir dealing with drug trade and the answers to an unsolved murder of Kilmer's wife. Newman's cues are dark, moody and sometimes bleak. Shades of sadistic counterpoints surface within "BADGER", percussion and guitar takes each piece of music to a dooming place ~ "LAST WIFE", piano recalls memories and strings answer the questions ~ "LINOLEUM/WALK TO BLACK", dreamlike trance voices adhere while strings swell, guitar opens the door for drums to react and all join in with a haunting tempo that grabs you, this is the highlight...ENJOY! All in all, Newman has captured the essence of a brutal undercover story and the demons that haunt each character. Much like Jerry Goldsmith with "L.A. Confidential", the elements within the soundtrack are very sound. As a "film-score-buff", this is going into my collection as a keeper. Total Time: 47:33 on 23 Tracks ~ Varese Sarabande 302-066-351-2 ~ (2002)"
Almost perfect
crown of indica | saint paul,mn,usa | 05/27/2004
(4 out of 5 stars)
"this cd is a definate must-have for newman fans,and people who enjoyed the movie starring val kilmer in one of his top 5 roles ever(i thought).my only gripe is that some of the songs end too abruptly.many are only :45 long,and though they're every bit as good as anything off "american beauty",only 5 or so are over 3 minutes long(the whole disc is about 50 minutes long).however,that means you do get many different musical "flavors" to taste by the time the album is done-and the last track is a total trip-yodeling instruction(???).I like to plop it in my changer on random for weird moments in between "regular songs".it's worth your $,and you may be mixed up about it at first but it grows on you."
Track Listings (23) - Disc #1