Predators: Original Motion Picture Soundtrack Soundtrack
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Presenting the original motion picture score to the blockbuster 20th Century Fox sci-fi/action feature film Predators, starring Adrien Brody, Laurence Fishburne, Danny Trejo and Topher Grace, directed by Nimrod Antal and produced by Robert Rodriguez (Sin City, Desperado, Planet Terror, Machete). Film opens in North American theaters nationwide, July 9, 2010. Acclaimed composer John Debney (Iron Man 2, Passion Of The Christ, Sin City, The Relic), ratchets up all the action and suspense of this latest hit installment of the legendary Predator franchise with a propulsive orchestral score that skillfully incorporates Alan Silvestri's iconic theme from the original film. CD Booklet features exclusive art.
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Top Customer Reviews
The new theme is very "Predator" just not as aggressive. The new theme is a descending group of three notes, which we first hear in the track "This Is Hell". The entire instrumentation of the score is pretty much right alongside with what Silvestri had, which is what makes this action sequel have a unique feel versus other action scoring styles that we've become accustomed to. Debney adds a few modern elements to the score such as an electric guitar. The percussion is a bit more aggressive as well. Debney's take on Silvestri's original theme is also a bit more modern, which you don't hear until the end credits and is included as the last track on the album.
Overall I found this score to be excellent. It was right on the money on delivering us back into the Predator universe. Something I think a lot of people wanted. We didn't want a reboot or a re-imaging. We wanted a kick-ass sequel in this franchise that wasn't plagued by aliens or Paul W.S. Anderson. Debney delivers on every level here, and even though you can't even begin to stack it up with Silvestri's work it comes pretty close.
If only they switched.
The Predator is really Silvestri's baby, and his intricate, nuanced scores for the first two movies really do not get the credit that they deserve. Debney is not a bad composer, but has absolutely no clue how to handle this movie, choosing to copy-and-paste wholesale from Silvestri's work while filling in the blanks with trashy, 90s-era teen slasher flick dissonant filler. It's an absolutely shameful effort. Imagine Justin Beiber taking the lyrics and melodies of Frank Sinatra and trying to make his own material out of it by adding something "new" here and there as if that is enough to disguise the fact that it is something we've all heard before.
Not quite as bad as Marco Beltrami's bastardization of the Die Hard scores after the death of Michael Kamen, but a lazy, half-assed effort and an annoying reminder of what could have been.
Debney generates an almost constant sense of menace within the music, always including some sort of ambient reverb, distorted animal noises and metallic sound effects into the mix. He makes good but minimal use of the well-known piano cues from the original franchise, only slipping them in now and again, which is kind of a shame. Toss in some rock/rhythm guitar riffs for emphasis (which seems to be the new trend) and you get a whole new kind of Predator, and it's a pretty good listen. DM's from all over will be adding this one to their collection.
But the tracks are also very formulaic: they all tend to slow down towards the end and fade out on an ominous, lingering note, making them seem more like episodes. Debney's also not above a little atmospheric trickery- just about every track contains a dramatic pause for about two or three seconds to build the suspense before the music resumes. Problem is he does it so much you start expecting it; a little less would've improved its effectiveness.
This Is Hell- Opens with an ominous descending 4-note cello with a static ambient underscore. Rattles, shakers and other miscellaneous instruments help play up the fear of the unknown. Background buzzing lends it a Friday the 13th feel.
Hound Attack- Slowly builds the tension with minimal instrumentation and assorted effects, including a raspy flute acting as a signal whistle. At :39 some good string rushes and tight percussion drop you right into the chase as the Predators flush the group with their dogs. At the 1:26 mark the tension increases as the tempo rises even higher before the classic Predator piano cue slows things down.
Predator Attack- Fast and hard-hitting, just like its namesake. Timpanis and trombones lead the charge with some odd kind of high-pitched rattle sitting beneath them. A 7-note rising brass motif is the standout here, reminiscent of the classic black and white horror flicks. Add some guitar riffs for support and it makes for a good time.
Meet Mr. Black- Opens as a tribal rhythmic beat with mosquito shakers and other odds and ends. Horns and strings arrive at :28, lasting until :50 where it switches into an ambient mood for the remainder.
Edwin & Isabella Captured- Starts out more rock-oriented with the riffs and techno-style programmed percussion, but incorporates the previous 7-note brass motif and strings nicely. Definitely gets your attention.
Theme From Predator- A nice, updated version of the Alan Silvestri original. Needed more of it.
This is a fun listen, but has a few dead spots and some tracks that are only interesting either at the beginning or the end. I personally would've liked a little more of an Alan Silvestri homage, but its worth your while.
As I referenced in my title there is only one thing lacking - Little Richard's "LONG TALL SALLY" is missing from this otherwise fine movie soundtrack.