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4.7 out of 5 stars77
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on June 18, 2012
This soundtrack is full of great music - Britten, Saint-Saens, Schubert, Francoise Hardy, Hank Williams, ... Period and classic music blend in a whirl of imaginative ideas. The mixture makes it very special and great to listen also apart from the movie.
0Comment27 of 27 people found this helpful. Was this review helpful to you?YesNoReport abuse
on July 5, 2012
My wife and I see a lot of movies. This is the first one in a long long time that we've both gushed over. So, I bought the CD. I've done this before, and found that the music without the pictures is just so-so. But here, both the older music (Hank Williams, etc) and the new are so good, they need no pictorial accompaniment.
0Comment18 of 18 people found this helpful. Was this review helpful to you?YesNoReport abuse
It is rare when a film of the sensitivity of MOONRISE KINGDOM is coupled with a composer of the stature of Alexandre Desplat and the feeling of simplicity finds such a fine union with the musical director incorporating classical musical that delivers the same level of caring. In the film the young actors speak about music - the final music in the film is an imprint created by Desplat of the Britten `Young People's Guide to the Orchestra' in that the voice announces the entrance of each new instrument about to be added to the orchestral fabric. That is exactly what Benjamin Britten did in his earlier piece: according to Wikipedia, `The Young Person's Guide to the Orchestra, Op. 34, is a musical composition by Benjamin Britten in 1946 with a subtitle "Variations and Fugue on a Theme of Purcell". In the introduction, the theme is initially played by the entire orchestra, then by each major family of instruments of the orchestra: first the woodwinds, then the brass, then the strings, and finally by the percussion. Each variation then features a particular instrument in depth, in the same family order, and generally moving through each family from high to low. So, for example, the first variation features the piccolo and flutes; each member of the woodwind family then gets a variation, ending with the bassoon; and so on, through the strings, brass, and finally the percussion. After the whole orchestra has been effectively taken to pieces in this way, it is reassembled using an original fugue which starts with the piccolo, followed by all the woodwinds, strings, brass and percussion in turn. Once everyone has entered, the brass are re-introduced (with a strike on the gong) with Purcell's original melody while the remainder continue the fugue theme until the piece finally comes to an end after building up to a fortissimo and Maestoso finish.'

Desplat compsed much of the score himself but relied heavily on Britten for inspiration with many Britten tracks taken from recordings conducted or supervised by the composer himself, the music includes The Young Person's Guide to the Orchestra (Introduction/Theme; Fugue), conducted by Leonard Bernstein; Friday Afternoons ('Cuckoo'; 'Old Abram Brown'); Simple Symphony ("Playful Pizzicato"); Noye's Fludde (various excerpts, including the processions of animals into and out of the ark, and "The spacious firmament on high"); and A Midsummer Night's Dream ("On the ground, sleep sound"). It works very well and this musical score underlines the exquisitely understated simplicity of the film. Grady Harp, December 12
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on July 25, 2012
Not much to say but this music perfectly compliments the movie. A touch of indie, a touch of classical/film score, and a few oldies mixed in. Just get it!
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on February 8, 2013
I wasn't sure I was going to like the soundtrack as much as I liked the movie, but I bought it anyway, and I'm glad I did. As much as the music compliments the scenes it's used in, it easily stands alone as well. The classical pieces run the gamut from mystical to spectacular, and the tracks by Hank Williams have given me a new respect for his work. If you haven't seen the movie, this is a good introduction to it. If you have seen it, this is a neat reminder. And either way, it makes really good listening.
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on December 31, 2012
I REALLY like this soundtrack, especially the closeout with the child's voice describing the instrument(s) being played. This is something that you can listen to over and over
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VINE VOICEon February 6, 2013
Alexandre Desplat is the busiest composer in the industry without question. 2012 saw him reaching up to Ennio Morricone numbers in terms of projects released within a year. With 8 (8!!!!) films in 2012 one might fear that he's spreading himself too thin, but instead he's producing some amazing work. Last year I awarded Extremely Loud & Incredibly Close the best score of the year. This year he will probably also get that distinction from me with Moonrise Kingdom. Desplat's second collaboration with Wes Anderson is nothing short of brilliant. So please forgive this late review as I finally get some time touch upon this masterpiece.

Moonrise Kingdom is a perfect film. The music echoes the structure of Wes Anderson's storybook style narratives, and in turn works almost in chapters. This was the same way Desplat structured his score to Fantastic Mr. Fox (an Oscar nominated score). Forget the fact that Wes Anderson uses some source music in the final mix as score because Desplat's music works hand in hand with it to create a seamless flow in musical narrative. The music accentuates the characters immensely and rarely scores plot (more of a blend of setting and character than straight forward scoring of action). It scores the characters and the emotions within. Since almost every of Anderson's characters speak and act with deadpan style, the music is essential to the final effect. Desplat works in movements of a central theme that culminates at the end, and then crossfades into probably the best end credits suite I have ever heard. Part 7 of his score is mixed with the boy narration introducing each instrument of the strack as it's played. This echoes another piece of the soundtrack (Leonard Bernstein's "The Young Person's Guide To The Orchestra") that was used as diagetic music in the film. By echoing that in Desplat's final part Anderson has supremely blended the line between diagetic and non-diagetic sound in a masterful fashion. The final result of the soundtrack experience is an emotional resonating culmination of the characters.

Moonrise Kingdom is a wonderfully quirky, beautiful, emotional and memorable listening experience. Desplat's score grounds the soundtrack as other pieces of music are placed between. The movements it creates flow masterfully all the way to the end point. Characters shine immensely in the music, and that's why Desplat is composing at a level that other composer's will struggle to reach.
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on May 22, 2013
I was very impressed by the music when I saw the movie. I thought it would be great for music teachers. Usually, they bring up the old "Peter and the Wolf" when they want to teach children about musical instruments. But Moonrise Kingdom beat "Peter and the Wolf" by a long shot. So I bought this CD as a gift to share with my music teacher friend who's running out of ideas.
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on April 21, 2014
to accompany a truly extraordinary film of the highest imaginative order. So surprised this film didn't win every award known to man. Still, the music is a reminder as I drive in to work of the scenes of the movie--all incredibly rich, deeply moving, profoundly funny; which altogether presents a philosophy for life not often encountered in today's film making.
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on July 18, 2013
Our family happened upon the "coming of age" movie and fell in love with it AND the accompanying soundtrack. We bought one for ourselves and one as a gift for our Elementary music teacher. I have two daughters, 9 and 6 and they adore this soundtrack!
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