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Captain Phillips Soundtrack

3.8 out of 5 stars 5 customer reviews

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Audio CD, Soundtrack, October 15, 2013
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Product Details

  • Audio CD (October 15, 2013)
  • Number of Discs: 1
  • Format: Soundtrack
  • Label: Varese Sarabande
  • ASIN: B00ETLU4JI
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #172,165 in Music (See Top 100 in Music)

Customer Reviews

Top Customer Reviews

By Jared M. Kuntz on July 23, 2014
Format: Audio CD Verified Purchase
Captain Phillips is the thrilling drama based on the real life event involving a hijacking of the MV Maersk Alabama near the coast of Somalia. Directed by Paul Greengrass (Green Zone, The Bourne Supremacy & Ultimatum), the movie is a true achievement in filmmaking. Now, in terms of the score, it's still a great listen, but not as amazing as one would hope, and it's not the composer's fault.

Composed by Henry Jackman (Abraham Lincoln: Vampire Hunter, X-Men: First Class), the score without a doubt sounds like John Powell's style, Greengrass' frequent collaborator. The opening track has a Middle-Eastern sound that Powell normally used in the Bourne soundtracks, combined with stings that help build the atmosphere of the film's opening. The second track, "Maersk Alabama," is very haunting and almost certainly foreshadows the terror ahead, both physical and emotional in nature; a certain "uncertainty" dwelling on the horizon. I won't go any further into track analyses, but i'll say my favorite track is the final one, "Safe Now." Unbearably emotional and beautifully composed, it's the one track that makes the entire score worth it. It's like when you watch a movie, and as good as it may be (or just the opposite), it keeps you waiting for that final, brilliant moment. And when that moment comes, it makes that wait even more worth it, even more memorable.

Captain Phillips is a good soundtrack that isn't an award-winner, but definitely one to add to the collection if you're a collector. If not, then give it a listen and decide for yourself if it's one you'd revisit, due to its similarities to past scores done with the same filmmaker (United 93 being the most influential, as even a part of the track 'The End' from the film is used in Captain Phillips).
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Format: Audio CD Verified Purchase
Ever since Paul Greengrass took over the Bourne franchise he quickly became one of the industry's most respected and notable auteurs. When he inhertited the Bourne franchise from Doug Liman he also inherited composer John Powell. Powell wen't on to compose four consecutive films for Greengrass. The collaboration ended when Powell decided to take a hiatus from composing or a "semi-retirement" as he called it. The reason, simply to spend time with his family and children. The super versatile Henry Jackman filled the void here and stepped in to compose Captain Phillips. The result is a more than satisfactory tension building score.

If you know Greengrass then you know he pushed Powell to do lots of percussion. That doesn't change here as the score is full of lots of percussion. The musical stylings are of course accented with ethnic sounds and instruments to accompany the Somali pirates. The score does an excellent job of pushing and pulling. It can push the tempo and then pull it back down at the drop of a dime. It's a lean and simple score with a very basic structure. If there were any shortcomings it's that the score is purely meant to provide tension and nothing really else. There aren't any deep emotional touches till the final track. And unfortunately that last track is a blatant mockup of "Time" from Inception. To be fairly honest, a lot of the tracks here feel very reminscient of Zimmer's structures and style. I've grown to love Henry's voice and while you do hear his pure unfiltered style now and then, it's mostly muddled in dipping into what's done before. Captain Phillips' score can very easily be described as Black Hawk Down meets United 93, which says how very basic its sonic identity is.
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Format: MP3 Music
First of all, let me say that I am a huge fan of composer Henry Jackman. His score for "Wreck-It Ralph" will forever remain on my iPod; his work on "X-Men First Class" is the best X-Men music there is; and I also loved his musical contribution to "Kick-Ass 2" earlier this year.

Having said that, I think "Captain Phillips" is Jackman's weakest album in a while. That's not to say it's bad, given that Jackman has set the bar so high; but the music here sounds a lot like your everyday action movie score (actually, it would fit well with the Bourne movies that director Paul Greengrass made). Rather than having the effect of increasing the suspense, the music often reminded me that I was watching a Hollywood-ized account of this harrowing real-life drama. As an isolated listening experience, once was enough - this is the kind of score with very few themes or memorable moments, so the re-play value is very low.

The final track, titled "Safe Now", helps the album reach a more triumphant and emotional state - although I must say parts of it sound a lot like Hans Zimmer's "Time" from Inception.

**NOTE: If you did see the film and enjoyed some of the music near the end, unfortunately some of it is not present on this album because it was originally composed for "United 93".

FAVORITE TRACKS
[2] Maersk Alabama
[16] Safe Now
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Format: Audio CD
Paul Greengrass takes his distinctive, tension-filled realism to the high seas in Captain Phillips, a film retelling the harrowing 2009 story of an American cargo ship hijacked by Somali pirates. Whether you agree with the portrayal of the Maersk Alabama's captain as a real-life, American hero or not (surely, the crew doesn't), there is no denying that Greengrass has again exploited his talents of taut, faux-journalistic storytelling to unanimous critical acclaim. Intelligent, forcefully acted, and intense, Captain Phillips has offered Tom Hanks and newcomer Barkhad Abdi two fantastic roles for which they will undoubtedly garner Oscar attention. By all accounts the film is another achievement for Greengrass's oeuvre.

One of the best things that ever happened to Paul Greengrass was his inheritance of composer John Powell when he began helming the Bourne franchise. Since then, Powell has provided the scores for all of Greengrass's films, including The Bourne Supremacy, United 93, The Bourne Ultimatum, and Green Zone. It's a partnership that has become expected, relied upon for consistent results; the director makes dependably good films and his composer has truly nailed a "sound" appropriate to his style. Because they're so in tune with each other, the duo delivers time and time again. Thus, when John Powell announced his semi-retirement to focus more on his family, by no means a reprehensible choice in light of the busy life of a composer, the film score community was left clamoring to find out who would fill his shoes.

Enter Henry Jackman, composer of such films as X-Men: First Class, Wreck-It-Ralph, Turbo, and the upcoming Captain America: The Winter Soldier.
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