![]() Howard’s score, however, is an absolute triumph, showcasing a balance of brilliant action cues as well as well-judged emotional themes. Sure, it was incredibly impressive from a visual standpoint, but it was over-long to the point of tedium. I really wasn’t a huge fan of Peter Jackson’s take on King Kong. ![]() Up to this point, Howard really made a name for himself by demonstrating a level of subtlety, but here, he goes all out to create an avalanche of over the top action cues that really elevate the material, adding a sense of tension and getting the audience invested in a way that its lead (Chris O’Donnell) couldn’t. Part of what makes the film so enjoyable is Howard’s score that, like his score for The Devil’s Advocate, pays tribute to the works of Jerry Goldsmith. ![]() It’s by no means a masterpiece, but it’s highly enjoyable if viewed in the right spirit. Now, some cynics may say that this is little more than a rip off of such cinematic classics as Cliffhanger and such, but there is quite a lot to enjoy about Vertical Limit. It’s another score that far surpasses the quality of the film, although The Devil’s Advocate is by no means terrible. He acknowledges his influences, with nods to the likes of Goldsmith’s score for The Omen, but still manages to make this work very much his own.Ĭhoral passages really help to create an ominous feel, and the fact that it’s so varied and worked so well into the film means that it acts as another character, setting out to unnerve the audience. If you have yet to hear the score, I highly recommend picking it up, as it’s a treat.īefore working on the The Sixth Sense, Howard hadn’t really been the obvious choice to compose horror scores, with this really being his only score in that vein up to that point, but again, his versatility is evident, as he shows a level of understanding that elevates the material. It’s a shame that this is one of Howard’s best works to date, and yet it will be passed over by many because of the film it accompanies. It’s a score that harks back to traditional Hollywood adventure films, and is much better than the film itself deserves. Howard’s score more than carries its own weight, and in many ways does more to add an air of energy, action and suspense than anything on screen. It’s notable that Howard wasn’t the first choice composer here, and that Mark Isham had completed a full score that was good to go, before Costner decided at the last minute that a change was in order. ![]()
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