1. Hostage Part 1 2. Will & Sarah 3. Welcome To Heaven 4. Botha 5. The Crane 6. Chopper Ambush 7. Duct Tape 8. Bridge Collapse 9. Proper Motivation 10. Out On A Ledge 11. Georgia & Henry 12. Reflections 13. Hostage Part 2 14. Reboot 15. Lucky Man 16. Skyscraper 17. The Pearl 18. Walls - James N Commons
I'm a fan of a good many Jablonsky scores, and whilst his Skyscraper score does start off on a positive note, it unfortunately ends up dissolving into yet another one of these scores where too much of the majority of it is focused on that "industrial" soundscape approach.
It's the exact kind of score that after a while ones brain trains itself to not notice it, forget it and perceive it as no different than any of the other sound effects and non musical audio in the soundtrack. I know I have no interest in ever wanting to hear it away from the film.
Well then why don't you give us your review, First Breath, rather than just scoff at this one without so much as a single word about why you (presumably) like this score?
Enjoying this more and more with repeated listens. I love so much of the score, but the second track ("Will & Sarah") - aside from just being lovely and soothing and catchy - is so cool because it really evokes the 90's Media Ventures feel-good anthem days. It has echoes of 90's Zimmer, Gregson-Williams, or Rabin in those "hero and his/her family" scenes or the lighthearted and feel-good finale moments (i.e. Con Air, The Rock, etc). I wasn't overly enamored with that sound when it was at its most popular circa 1994-1999...I enjoyed it, but it did quickly become a bit overplayed for those kinds of films which, admittedly, called for it. Now though, hearing this vibe again in Skyscraper, it feels nostalgic and has a cool retro vibe. It even has some Faltermeyer/Top Gun-esque echoing soft perc hits.
And then you have stuff like "Out on a Ledge" which is insanely tense, stuff like "Botha" which amps up the badass electronic rhythms to properly wicked levels, and stuff like "The Crane" which has a very interesting long-form structure that brilliantly and intricately builds to the full-on action blitz at the end.
Well then why don't you give us your review, First Breath, rather than just scoff at this one without so much as a single word about why you (presumably) like this score?
When you have quotes like this-
" it is fair to say that I doubt I will be sitting here in fifty years listening to the scores of Battleship or Pain and Gain in the way that I sit here today listening to The Blue Max and The Lion in Winter."
And this-
"There are many things I can think of doing which last 75 minutes and are more enjoyable than listening to this album: for instance, staring for 75 minutes at a tin of sild. It’s pretty embarrassing that a major studio could release a summer action blockbuster with music like this in it, and rather than scraping the sky, it’s very much scraping the other end of the spectrum. Listen to it if you must, but believe me you’ll need to take a long shower afterwards and then listen to the main title from The Towering Inferno on repeat."
The reviewer appears stuck in the 60's and 70's. The author is not reviewing the music but complaining and lamenting about a bygone era. So the review is sort of lame.
Enjoying this more and more with repeated listens. I love so much of the score, but the second track ("Will & Sarah") - aside from just being lovely and soothing and catchy - is so cool because it really evokes the 90's Media Ventures feel-good anthem days. It has echoes of 90's Zimmer, Gregson-Williams, or Rabin in those "hero and his/her family" scenes or the lighthearted and feel-good finale moments (i.e. Con Air, The Rock, etc). I wasn't overly enamored with that sound when it was at its most popular circa 1994-1999...I enjoyed it, but it did quickly become a bit overplayed for those kinds of films which, admittedly, called for it. Now though, hearing this vibe again in Skyscraper, it feels nostalgic and has a cool retro vibe. It even has some Faltermeyer/Top Gun-esque echoing soft perc hits.
And then you have stuff like "Out on a Ledge" which is insanely tense, stuff like "Botha" which amps up the badass electronic rhythms to properly wicked levels, and stuff like "The Crane" which has a very interesting long-form structure that brilliantly and intricately builds to the full-on action blitz at the end.
After several listens, if isn't the best from Jab, is just okay for me.
