Minority Report
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Free Music Notes for Minority Report
Free Music Review: A Thrilling Score
Hit: 5 Stars
Great film, great score. Williams does it again.Free Music Review: It's not a classic But it's pretty Good
Hit: 4 Stars
I'm an exremly huge fan of John Williams. I love his work. Unlike many composer who have two to three sections in there music John Williams has 5 to 6. To people who listen to John Williams Music it is a huge mix between A.I., Star Wars, and The Lost World. I'm 13 years old and I have been a fan of John Williams since Home Alone. Minority Report is much darker in the music. The songs are not big and grand. But they are overwhelming due to the creepy-ness that you would get out of it. My favorite will have to be track 10 were it goes all out on the music.Williams does not use any electrical insruments like in Star Wars EP 2 ( ZAM THE ASSASIN)and in A.I.. He is back to his Violins trumpets and bells. This soundtrack will not go in history like the themes for JAWS, RAIDERS OF THE LOST ARK, JURASSIC PARK and HARRY POTTER, but Minority Report is special in it's own way.
Free Music Review: A must have for Williams fans
Hit: 4 Stars
For those that are expecting a highly melodic score by one of Hollywood's scoring legends, you should probably pass this up. Don't get me wrong, John Williams is one of my favorite film composers and one of the great film scoring talents ever, but this is definitely not a score for those who prefer his more melodically driven scores. The liner notes by Steven Spielberg offer his opinion that, "If most of John's scores for my films have been in color, I think of this score as his first one in black and white." I agree. However, it's about as black and white as Bernard Herrmann's score for Alfred Hitchcock's "Psyco". Williams' music may at first seem monochromatic but further listenings bear forth no less than the composer's uncanny ability to color a score and a film with his music. The score is by-and-large rhythmically driven (this being one big chase movie, afterall) and has some wonderful moments. Some of the highlights from the score include: "Spyders", some of the most chilling music in the score, ' "Sean" by Agatha" ' which is filled with a ghostly beauty, and, of course, "Anderton's Great Escape" a lengthy chase cue which is typical of the kind of muscle that Williams is capable of getting out of an orchestra when he needs it and, in this humble reviewers opinion, bests the 10-minute "Zam the Assassin and the Chase Through Coruscant" from the "Star Wars: Episode II" soundtrack.I like John Williams' music and I think that "Minority Report", like his "AI" score shows how capable he is of crafting music that is at once modernist, minimalist and everything in between. "Minority Report" is yet another example of just how versatile the most venerated of film composers is.
Free Music Review: Master
Hit: 5 Stars
There is actualy no way i can write anything bad about my No.1 Composer John Williams.His work is just great.I have only about 30 CD's of his music in my collection,but i hope it will be better.There is one thing i can tell about this soundtrack -Another collaboration of John and Steven Spielberg.Do I need to tell you more?Free Music Review: A Very Positive "Report"
Hit: 4 Stars
John Williams has come full circle since the Summer of 2001. A year ago he ventured musically into the realm of science fiction for Steven Spielberg's futuristic "A.I." This Summer he has returned to that genre for yet another Spielberg collaboration, "Minority Report." In between, it should be mentioned, Williams has been quite productive with splendid scores for "Harry Potter and the Sorcerer's Stone and "Star Wars Episode II-Attack of the Clones," along with his music for the 2002 Winter Olympics. The music for the four film scores can be divided into two general categories, one quite melodic, the other much less dependent on melody and intended to underscore and accentuate events on the screen by use of musical motifs (of course, is this not what all film scores do?). Williams' two Spielberg scores seem to belong to this latter category, especially "Minority Report." The result is a fine orchestral score for a film that blends murder mystery, film noir and science fiction, but one that does not have a familiar melody that one would hum or whistle on the way out of the movie house. What one does find is an approach more akin to Bernard Herrmann's work for Alfred Hitchcock. Motifs, rather than melodies, are used for effect and are often quite memorable (note Herrmann's music for "Psycho" and "Vertigo") but usually as part of a score. Rarely are they made famous on their own (Ok, Herrmann's shower scene is a given). On this level John Williams is quite adept, however, and many of his motifs are easily recognized ("Desert Chase" in "Raiders of the Lost Ark" for example). His music for "Minority Report" creates a spectrum of motifs and melodies from tender, but somewhat nondescript melodies ("Sean's Theme" and "A New Beginning"), to mysterious vocal motifs ("A Vision of Anne Lively"), and his trademark motifs for action ("Anderton's Great Escape"). As one may surmise, such a score may be better appreciated while viewing the film than with the soundtrack recording, and to a certain extent this is true. Still, Williams' score is interesting listening on its own and proves more complex and enjoyable as one becomes more familiar with each cut. Nicely packaged, and well produced, the soundtrack is well worth having. Now, as to Williams' overall achievemant for this very busy period, bravo indeed! There are five new Williams' CDs on my shelf and there is something wonderful about each one. That such a significant and enjoyable production could come in so brief a period is yet another credit to one of film's finest composers.