The Wolverine

July 23, 2013 | Format: MP3

$10.99
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Product Details

  • Original Release Date: July 23, 2013
  • Release Date: July 23, 2013
  • Label: Sony Classical
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 58:35
  • Genres:
  • ASIN: B00DU17HKM
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (11 customer reviews)
  • Amazon Best Sellers Rank: #78,399 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

4.3 out of 5 stars
5 star
55%
4 star
36%
3 star
0%
2 star
0%
1 star
9%
See all 11 customer reviews
I liked the mood setting tone of each track.
JB1
For The Wolverine it seems 20th Century Fox is taking one more stab at a Logan movie, and if Beltrami's score is any indication then this direction is something good.
Kaya Savas
I must say, this is an award-worthy score that deserves the attention of all instrumental/classical music collectors.
Jared M. Kuntz

Most Helpful Customer Reviews

5 of 6 people found the following review helpful By Movie Music Mania on August 6, 2013
Format: MP3 Music
The X-Men franchise has never really been one for thematic continuity. Since the first film's release in 2000, each and every entry into the series has seen a different composer tackling the material, amounting to a laundry-list of veteran names like Michael Kamen, John Ottman, John Powell, Harry Gregson-Williams, and even newcomers like Henry Jackman, but never a definitive X-Men sound. The various scores on their own have never been particularly weak, Michael Kamen's work on X-Men and Harry Gregson-Williams' on X-Men Origins: Wolverine being the only debatable exceptions, but each score has been a work started purely from scratch. Logically, this tactic has produced a number of themes for singular entries ranging from average to superb but never an overarching theme for the franchise.

With this past month's The Wolverine, which functions as both a standalone Wolverine story and a bridge between the ill-conceived X-Men: The Last Stand and the much-anticipated X-Men: Days of Future Past, the series has been taken in yet another musical direction by horror ace Marco Beltrami. It's hard to have a beef with Beltrami for doing this, though, for James Mangold's latest film removes the title character from his familiar surroundings and places him in an entirely unfamiliar environment: modern Japan.

Working on eight films this year ranging from action (A Good Day to Die Hard) to horror (World War Z) to drama (the upcoming The Homesman), Marco Beltrami has been consistently proving himself to be one of the most prolific and adaptable composers working today. In comparison to Beltrami's recent efforts, The Wolverine will likely come across as the smaller, slightly more aggressive and appropriately more ethnically-charged cousin of his score for World War Z.
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2 of 3 people found the following review helpful By Jared M. Kuntz on July 30, 2013
Format: Audio CD
Marco Beltrami is a well-known composer, but he doesn't have the same recognition as others such as John Williams, Hans Zimmer, James Newton Howard and James Horner. Instead, he's on the level of Harry Gregson-Williams, Marc Streitenfeld and Ramin Djawadi: they all have some great scores, but only a few. They don't have as many films/TV shows scored, but what ones they do are fantastic. Recently Marco also scored World War Z, which is fantastic, but ranks just under his phenomenal score for 3:10 to Yuma. But here, in the same year with World War Z, he has The Wolverine, which, on all levels, ranks along side 3:10 for being intense, emotional, dark but also slightly tragic, in terms of the lead hero, who must struggle with his inner demons and the situation in order to save himself.

With the second track, "Threnody for Nagasaki," it starts off with a darkly peaceful sounding viola solo, which quickly turns into a terrifying run of haunting sounds, drums and strings. In "Funeral Fight," we get to hear the more intense an action-packed music, but it is no less compelling or well-composed, being much different from your standard action blockbuster music. Instead, Beltrami uses haunting strings, trumpets and drums to convey the battle taking place. I have to say, though, my favorite track on the disc is "Sword of Vengeance," which I feel ranks along side the incredibly famous track from 3:10 to Yuma, "Bible Study." It starts off sounding like something from a fast-paced horror movie with strings and sounds sounding chaotic and hellish, but then goes into something hopeful, something of order among the intense chaos. Like "Bible Study," the intensity is balanced by the hopeful theme placed in the musical notes, giving The Wolverine a fitting ending to the conflict at hand.
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Format: Audio CD Verified Purchase
So far I'm loving this soundtrack. Other than 3:10 to Yuma, I haven't really liked much of Marco Beltrami's work. I am currently seeking out World War Z soundtrack, now that I have actually seen the movie itself. As for The Wolverine, I didn't really like the movie to much, but I did enjoy listening to the soundtrack.
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Format: Audio CD
The last time Wolverine had his solo adventure we were treated to a surprisingly bad action movie full of cheesiness, bad writing, botched directing and a lot more that went wrong. Harry Gregson-Williams tried to make a decent score for the picture, and it was. It didn't stick though as well as it should have since the movie was so hallow and empty. For The Wolverine it seems 20th Century Fox is taking one more stab at a Logan movie, and if Beltrami's score is any indication then this direction is something good. This isn't a superhero score. The film isn't trying to be a superhero film either. James Mangold's take is obviously darker, still stylized but not so over the top.

Mangold re-teams with Beltrami (their last collaboration netted Beltrami with an Oscar nomination) and the two are definitely in sync here. The music is dark and rooted in the film's Japanese setting. The deep mystery behind it is very intriguing and borderline chilling. The score's emotional weight is so heavy that there is a constant sense of dread weaved throughout. Beauty peaks through the darkness in subtle forms with a hint of tragedy behind the motifs. The action is separated by passages of brooding music that is structured to really mount suspense and tension. The score takes on a "thriller" feel at times and makes everything feel all the more substantial. In tracks 11 and 12 we even get a harmonica for a little Once Upon A Time In The West feel as the film embraces its Ronin story. I also love that Beltrami was able to use the track title "Ninja Quiet" here. It was also the title of a track on the World War Z album, just a little easter egg. When Beltrami brings in the big action cues for the final act it really ramps up the tempo.
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