Release Date: 11th June 2013
Composer(s): Hans Zimmer
[Additional Music By: Junkie XL, Atli Örvasson, Andrew Kawcyznski, Steve Mazzaro and Geoff Zanelli]
Length: 87:49 (standard edition)
118:18 (deluxe edition)
Recorded At/By: Eastwood Scoring Stage, Burbank, California
Label: Watertower Music
Why You Should…
For Hans Zimmer evokes a degree of awe and muscularity with his befitting new, action packed efforts for the titular character.
Why You Shouldn’t…
The startling lack of subtlety, romance or indeed, intelligent writing will detract the more learnt listener.
The notion of rebooting a franchise has transcended into second nature within the illusive world of Hollywood. Whether it be superheroes, heralded action thrillers, or even the more relaxed genres of filmmaking, it is somewhat of a disguised pleasure to see these characters materialise onscreen once more, and the audience is inevitably lead on a trail of nostalgia, and conventionalisation. Since the reboot of the Batman franchise, many other franchises followed suit, vigorously conditioning said characters and mythos into perceived standards of today to re-earn the “cool” status once more. A prime example of this is Zack Snyder’s polarising but ultimately eye-opening superhero feature, MAN OF STEEL. Perhaps no other attempt in the colourful realm of superhero-based filmmaking has ever ripped the critics and audiences away from each other, with both praise and punishment being hurtled from multiple angles. Drawing upon the panels of an American cultural icon, Superman’s origin story was adapted to suit to contemporary times, proof that the “most revered in the pantheon” (echoed by Henry Cavill, who convincingly won acclaim for his transcendence upon Christopher Reeve’s legacy) still thrives due its timelessness even today. Snyder’s take on the Man of Steel revolved around the internal conflict of Clark Kent, and as to whether he should unleash his mysterious powers if he is to defend Earth from a seemingly sinister General Zod, now hellbent on avenging Krypton’s demise. With more than enough gross generated worldwide to accumulate plans for a shared universe, in the vein of their counterpart, the Marvel Cinematic Universe, albeit to engineer that universe in reverse to provide contrast, Man Of Steel opened the doors for audiences to begin exploring the DC comic mythos in detail.
With Man Of Steel’s release, came a more healthier appreciation of Superman, though not without its detractors. Lack of character development and pacing were the main issues that both critics and audiences alike shared with one another. Where the film succeeded however, was its casting, the attention to comic book mythology, and visual effects. The score, by Hans Zimmer, elicited an array of responses- quite simply put, favoured by the masses, chastised by the elite. Speculation initially flew rampant of the composer’s involvement with the project, though Zimmer was quick to dismiss the claims. It’s interesting to think that when the composer seems as if he’s about to settle for something a bit more on the lighter end of the spectrum, out come the giants in the industry to pull him back for more explosive output! Argued Zimmer, that his fear of being compared with the iconic John Williams was his main concern, Snyder must have coerced him a great deal to accept the project. In some regards, Zimmer’s concerns were understandable- the daunting responsibility of stepping into the most prolific composer of our generation, and altering the compositional DNA for one of cinema’s legendary characters is no mean feat. To which degree Zimmer performed this, is arguable. Continue reading “Man Of Steel- Score Review”