1 of 1 people found the following review helpful:
5.0 out of 5 stars
Symphonic horror!!, April 6, 2004
This review is from: The Fly II (1989 Film) (Audio CD)
This score by Chris Young was written almost simultaneously with his score to Hellbound: Hellraiser II. This can be heard easily; they are both sweeping symphonic horror scores, performed by a full orchestra. No holds barred on these two!!
There are some atonal and nasty sounding tracks as well as some soothing quieter ones. Hellbound had the same characteristics.
If you are a Christopher Young fan and you love Hellbound, then this is the perfect companion score.
If you are more into his not-so-dark action scores like Hard Rain (The Flood) or more into his gentle and sentimental scores like Murder in the First, I don't think you'll like this.
Mind you, this score is not so creepy and atonal as The Dark Half or A Nightmare on Elmstreet 2, but melodic and beautifully melodramatic, with contemplative tracks as well as a full-blown orchestral finale. Again a parallel with Hellbound.
In my humble opinion this lesser known Chris Young score belongs to his top three soundtracks!!!
No thanks to the not so good motion picture it came with.
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0 of 1 people found the following review helpful:
4.0 out of 5 stars
An oft lost gem, June 15, 2001
This review is from: The Fly II (1989 Film) (Audio CD)
This is another work by a composer who tends to give films better scores than they deserve (I'm thinking of the 'Hellraiser' series or even 'Species'). While not as good as Howard Shore's score for 'The Fly', this sequel (of sorts) manages to capture the tragic beauty and spectacle of the grotesque. Young moves from melody to atonality from track to track making some of the tracks hard to listen to in a linear fashion. Still, Young is one of the most interesting composers around when it comes to terrifying nuance (as each of his scores shows)and this one is no different. His score speaks to perhaps the doomed desire of man (in his attempts at transformation, both mentally and physically) and also of a love affair lost and best remembered in as a dream (rather than nightmare). It is a score not so much about the end inasmuch as it is about the passing of seasons, a change from one life to the next (see the final track).
My personal favorites are tracks one, two,nine, ten, and twelve. The reason why the score doesn't get five stars is because the musicians are sloppy with the playing at times and also because the sound quality is at moments poor. Otherwise, I'd recommend this score for anyone interested in underappreciated film composers (Young, Shore, Nyman) who continue to get better with each year.
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