Review
#1 by the Groovy Yak
It's a shame when brilliant, thought-provoking
films like A Simple Plan get little or no recognition from the masses.
I've mentioned the film to some of my friends and family since viewing
it (6/99) and no one knew that such a film existed. It's clearly one of
the best films (so-far) of 1999- a film that reminds me a lot of the old
Alfred Hitchcock thrillers- Vertigo, North by Northwest, and The Birds
(for instances you'll notice quickly in the film.)
In case you are one of the many who haven't
heard of A Simple Plan, the story takes place in a northern Midwest town
in the middle of winter. Hank- the common man and protagonist, his slow-on-the-uptake
brother Jacob (Billy Bob Thorton), and Jacob's best friend - the town
drunk named Lou (Brent Briscoe), find 4.4 million dollars in a crashed
plane. Reluctantly, Hank decides to keep the money and split it 3 ways
after the plane is eventually found by the authorities when the snow melts
in spring- that way if the authorities came looking for the cash, he could
quickly burn it. Well, that plan sounds simple enough, doesn't it? However,
when Hank reveals the cash to his sweet wife, Sarah (Bridget Fonda), she
begins to come up with schemes to make sure they keep the money, which
starts a chain reaction of events- each more deadlier than the preceding
one until the shocking climax of the film. I'll reveal the climax later
in the review. I'd recommend to those who haven't seen the film to stop
reading at this point until you've seen the film.
Elfman's music isn't quite as simple as
the plan, though. The instrumentation of a Simple Plan contains an extremely
odd combination of instruments. And this isn't like a Thomas Newman or
Elliot Goldenthal score where we get weird metallic sounds or human breathing
in one track and then in the next its back to the strings- Elfman sticks
with his choice of instruments throughout the entire score. There's no
"real" brass or percussion in ASP, there's only a large group of woodwinds,
a large group of strings (including guitars, banjo and harps), piano,
and the sampled sounds (which contain some percussion and brass sounds).
The score contains two primary themes which weave in and out of each cue.
They ARE simple themes. However, its the way Elfman rhythmically and harmonically
plays with them that makes them so much fun.
Perhaps the word "fun" is a misnomer. I
think that word should stay far away from any review for this score. A
Simple Plan is a dark, cold, and purely Elfmanesque experience. Those
expecting something along the lines of Carter Burwell's Fargo should hit
their "Back" button now as they'll undoubtedly be disappointed with A
Simple Plan. Like most of Elfman's more dramatic works, it took me quite
a while to _understand_ his score. I still am figuring out many of the
intricacies of it. Analyzing A Simple Plan is much like staring at an
impressionistic artwork- it's quite difficult to take it all in at first,
as opposed to a Norman Rockwell painting that instantly evokes feelings
of reminisce. I suspect that this is the problem that many will have with
the score as its quite inaccessible and not an enjoyable listening experience.
Many film score fans want all of their scores to be like Titanic, Star
Wars, or Batman- a pleasant listening experience where each cue reminds
you of the action in the film. A Simple Plan is about as far as you can
get from these scores. Most of the cues serve more as atmosphere and if
there's any Mickey-Mousing in the score, its too subtle for me to pick
up. (I actually had to e-mail my friend Ryan Keaveney who is an ASP expert
for help with this review because I just couldn't place cues with their
appropriate scenes.)
But what an atmosphere Elfman creates! There's
a sense of doom that lingers throughout the score. This is attributed
to the use of de-tuned instruments. It's one of the most interesting effects
I've heard in a film score. In the very opening of the score we hear the
sound of a piano that sounds like a piano in some of the old practice
rooms at MSU! There's also some interesting detuned guitar sounds. To
keep with the symbolism in the movie of birds looming overhead, waiting
for the death of others, Elfman uses a full palette of flutes and other
woodwinds to create the sound of birds "cawing." He even uses extremely
rare woodwinds like the alto flute. Another effect that we hear (most
notably in the main titles and end credits) is an odd "hillbilly" accompaniment
with banjos and guitars. Perhaps Elfman is referring to the character
of Lou, as all of the other characters don't really fit the description
of being a hillbilly.
A Simple Plan is more of a cerebral listening
experience than an emotional one. It's interesting to hear what effect
Elfman is going to use next or what variation he's going to make with
the main theme or Jacob's theme. However, Elfman does lay his finger on
the emotion button every once in a while in A Simple Plan. While the main
theme is merely a theme for the movie and provides something that the
rest of the score can pivot on, its the haunting Jacob's
theme that Elfman uses to provide some emotion to the score. Through
Jacob's theme, we get a sense that Jacob isn't the idiot that we are led
to believe he is. He's a sensitive man with definite morals, and the theme
eloquently paints that picture of him for us. During the last act of the
film, Raimi gives us long shots of Jacob's face as he sits and thinks
about all that he has done so far. Elfman's music in these scenes musically
tell us the conflict in Jacob's mind. And then there's the shocking finale.
In that cue, Death, Elfman gives us a beautiful rendition of the theme
that shows us what a noble character Jacob is.
Perhaps my words sell the score a little
short. The score works incredibly well within the film and is one of Elfman's
most creative scores ever. I haven't been this impressed with an Elfman
dramatic score since Dolores Claiborne. Compass III (Now known as Chapter
III) did a reasonably good job with the album (as you can tell, the picture
on the back of the CD has become part of this site's logo.) There's a
couple of really good cues left off the album, though. (There's a truly
excellent Elfmanish cue where Hank tries to cover up his brother's blunder
by driving a snowmobile with a dead old man into a river. There's also
a great cue where Hank is fumbling for the right bullets in the sheriff's
office.)
I recommend A Simple Plan, but with extreme
reservation. Don't miss the film either. I strongly recommend it! The
music deserves * * * * in the film, but as
a listening experience, I feel many people will find it too difficult
to listen to. In that case, I'll give the score *
* *.
(Old Rating: * * *)
Review
#2 by Ian Davis
Perhaps it is the film's concern with the
minutiae of human interaction and logic under stress which gave Elfman
the creative nudge to make his score for A Simple Plan far superior to
its neighbouring work, A Civil Action. A Simple Plan is played out by
all characters in such an unassuming manner the underlying tone of situations
spiralling out of control in this movie relies heavily upon the composer
to come up with something riveting and eerie. Whatever my own opinion
of the soundtrack on CD, Elfman's success on film cannot be questioned.
This is one of Elfman's most Bernard Herrmannesque
scores to date. For Herrmann sound-world and psychology were priorities:
one for a film's over-all identity, the other for the audience's participation
in the plot. If strings are the prime focus of Dolores Claiborne, it is
the flute family which dominates A Simple Plan. Elfman's invention is
nearly inexhaustible --he explores much (but happily by no means all)
of the 20th century repertoire's tampering with the 'traditional' western
approach to flute playing, using it as much as an atmospheric tool as
foreground musical dialogue. We hear flexible intonation, quarter-tones,
over-blowing, flutter-tonguing, various degrees of articulation, not to
mention hearing the flute in upper, middle and lower registers. It pays
to listen out for the magical moments such as towards the end of track
9 when a solo flute reaches out melodically in its middle, singing register;
and the gloomy effect of its lower register is a most powerful and least
tapped potential for this instrument.
In addition Elfman is prepared to pit a
full menagerie of flutes against twanging guitars (reflecting an all-but
ethnic folksy setting), harp, a battery of tuned and untuned percussion,
a piano (prepared for quarter-tones in track 8 particularly) and a subtle
wash of strings. The combined flute texture ranges through thick, low
for thematic substance, sparse, and shrill. This last is most reminiscent
of Herrmann in his collaborations with Hitchcock: it links the running
tone and character psychology of the film with its visual idee fixe of
crows throughout.
[Herrmann comes close to a literal representation
of this in The Birds when he uses only birdlike sounds for the whole movie
(where birds, particularly crows and gulls attack an isolated fishing
village for no apparent reason). In the two-thirds of the film before
anything violent occurs, birds are continually discussed, mentioned in
passing or shown in the background. As unease modulates into panic the
bird calls are associated with the onset of danger.]
There are some moments (but only brief ones
amid the flow of flutes) where other instruments blend in to shift the
tone, such as in track 8 where chilly glissandi strings dominate briefly,
in track 5 when brass take a bow and in track 11 when Elfman's trademark
chorus can be heard ever-so discretely in the distance. However, these
are but glimpses, and the overall mood of the movie is barely shakeable.
Considering the almost total absence of
strong (i.e. memorable) thematic material (an advance from Dolores), the
CD's 30 minutes is held together surprisingly well, but not to the benefit
of accessibility. Elfman's reluctance to create any kind of strong emotional
or timbral contrast binds the music in a straight-jacket, a weakness for
the casual listener of the CD which proves a strength on film. If one
approaches it as either 'clever' connoisseur or depressed flautist then
satisfaction is guaranteed, but I found little to really 'like' or appreciate
in this score other than the technical experimentation that benefits the
film. The overall impression of bleakness in Dolores belies a subtle feel
for colour and empathy which its poorer cousin Extreme Measures shares.
Dolores also has a nasty taste for musical drama and has its violent releases.
A Simple Plan is one long anticipatory lunge through a snowy village,
and on CD it cannot fail but to fall flat on its face.
Film Rating: ***
CD Rating: *
Review
#3 by the Texas Ranger
WARNING:
This review may contain spoilers from the film. Those concerned with the
CD Release ONLY should skip ahead to "The anti-Sommersby!"
Disturbing - To trouble emotionally
or mentally; to upset tranquillity. SEE: A Simple Plan
A Simply Sadistic Score for
a Simple Plan (a.k.a. - The Good)
I absolutely must express my thoughts on
this score’s relation to the film, otherwise I will not be doing the composer
any justice. A Simple Plan (the Oscar worthy film about humanity’s greed
- as well as the suffering that results from suspicion, envy, and lust)
was a very grim portrait of the apparent American Dream gone wrong. Sam
Raimi (Darkman, Evil Dead II), as well as Scott B. Smith, used crows to
symbolize the shallow, subversive, brutal forces of natural instincts
alive and well in seemingly goodhearted Midwestern people. Elfman, who
was remarkably intuitive, caught on to this symbolism, and fashioned a
mean spirited score as brutal and twisted as the crows that inhabit the
winter wasteland of the film.
To accomplish this, he actually eliminated
the whole brass and percussion sections! Not that there is anything wrong
with this; Bernard Herrmann would rearrange his orchestra often in an
effort to reflect the mood of the film. In addition, Elfman must have
bloated the wind sections to a gargantuan size - because the action tracks
contain a mammoth amount of ferocious flutes. Finally, he somehow tweaked
the pianos, banjos, guitars (and I suspect a few other things) so they
all sound unbearably out of tune.
The sound this music (although I use that
term very loosely) created in the film was frightening, to say the least.
Elfman’s score was frigid, and lacked the warmth of his earlier rural/ethnic
works (Sommersby, Black Beauty). The piano always seemed to resonate at
a distance, providing an appropriately eerie, if not lonely, backdrop
to the cold blooded incidents being portrayed on the screen. Indeed, every
aspect of this score, despite its unbelievable technical simplicity, was
aimed at destroying the listener’s psychological stability. Yet, there
is a method to his madness.
Besides the distant sounds of the stilted
piano, Elfman uses a whole plethora of flutes for what I feel is a direct
correlation between the music and the crow imagery. The flutes more or
less chirp (or to be more precise - squawk) with the sheer ferocity of
a flock of disgruntled birds. The banjos and guitars (at least the ones
acting as the substitute percussion) aren’t really strummed, but plucked.
The result is a pecking, "DOING" sound. Once again, this fits
in with the savage imagery of the winged scavengers - who were seen plucking
out a dead man’s eye early on in the film.
These two musical aspects see the light
of a winter’s day through two incredibly subtle themes. The first theme
(as heard in Main Title [1]) basically serves as the backdrop for all
of the horrid events that befall the quiet town. The opening taps from
the piano, jilted plucking of the banjo, and squawks from the flute are
used time and again throughout the film’s darker sequences (especially
during the numerous appearances of the crows). In addition, there are
five notes lifted directly from Sommersby (track 1 [0:18]), that are played
throughout this theme, and other moments during the film (perhaps Elfman
was being cynical by pulling out a few notes from one of his most beautiful
pieces). The second theme, which is most often associated with Jacob,
is even weaker than the first in presence and orchestration. Indeed, Jacob’s
theme is appropriately pathetic and reflects a certain naiveté
that was associated with the more morally sound, but intelligently bankrupt
character. For the most part, this theme is heard through the piano, and
is hauntingly touching when Elfman allows it to be. However, Jacob’s theme
undergoes a series of transitions that reflect the mood of the character.
As a result, the theme is usually simmering with regret, fear and brooding,
until it culminates at a touching farewell in Death (9) and End Credits
(11).
As a film score, this unique, rather savage
approach works quite well. In fact, this is arguably one of Elfman’s finest
film scores since 1994’s Dolores Claiborne, and contains a countless number
of downright ingenious cues that could rival Scissorhands, Claiborne,
and Mission: Impossible. For instance, there was the sudden, brooding
tone that accompanied Lou retrieving his shotgun (which awkwardly pierced
some twelve minutes of musical silence). This was followed by a "Doing"
from the banjo - heightening the audience’s groans of "Oh god, what’s
going to happen next (Betrayal Part 1 [5])?" This brilliant signature
was used time and again as a tragically comedic indication that something
was amiss (or about to be). In another brilliantly orchestrated scene
(both physically and musically), Elfman uses this technique to reflect
the so-called FBI agent’s realization that he has a gun pointed at him
(Track 8 [3'39"]) - DOING! Equally brilliant is the use of a heartbeat
during the first murder sequence, and then the subsequent flat-lining
of the music. Then, as the murder is argued over later, Elfman resurrects
the heartbeat through the electronic bass beat - a wonderful move. There
was also the savage ferocity that accompanied Hank trying to find the
right implement of destruction (all right, a gun) to use on a suspected
criminal. Finally, Elfman truly shines at two key moments in the film
(one of which was not included on the CD release). First, the scene that
portrays the decision to try to cover up the first murder, and dump the
body in a stream, contained one of the most suspenseful, panic stricken
pieces since Herrmann’s Psycho. Using the flutes and strings, the composer
fashions an animalistic tune that reflects the brutal instinct of pure
panic (as well as moral decline) that is befalling the lead character
- and yet still maintaining a wintry aura as the snowmobile disappears
into the landscape. This culminates in a stunning scene where the music
takes precedence (when the sound effects become silent). As the snowmobile
races over the bridge, be still and awe as Elfman uses only the slightest
hint of synthesized choir in an effect that is disturbing as it is grotesquely
surreal (was that a choir, or the audience collectively gasping in horror?).
Finally, Death (9) is one of Elfman’s most restrained, minimalistic, and
yet touching "send offs" in his film career. How easy it would
have been to rely on so many Hollywood clichés, or the pioneering
work he used in Scissorhands, the Batmans, or Sommersby This time, Elfman
uses a climax that is truly dissatisfying, and, although touching, is
as shallow as the Death itself - a suicide resulting from the character’s
inability to cope with what he had done. Once again, Elfman scores the
latter half of this scene without the aid of sound effects - letting the
music (which seems to come to a resolution [a false ploy used to give
the audience a sigh of relief]) take precedence once again. There are
countless other ingenious moments that can be heard in the score, but
I will have to stop here - as others will probably have their own comments.
The techniques that Elfman uses here are
of a different breed than his post 1995, and far less stunning, comedic/action
works. In Mars Attacks, and others, Elfman used the music to score the
sound effects - and the result was, for the most part, mediocre. In A
Simple Plan, Elfman uses the music to build suspense, and then lets the
sound effects take over. Thus, before a shotgun is fired, Elfman will
use a stinging build up - though, once the shot is fired, the build up
ends and a musical silence results. Thankfully, this technique eliminates
the need for the composer to "compete" with the sound effects
(as is so often the case with most thriller films), and allows him to
engulf the audience in the suspenseful nature of the story. Elfman also
put a personal effort into this score, apparently tweaking and playing
some his own bizarre instruments which he has collected over the years.
Many of them, including the glass sounds, added a "windy," hollow
feel to the music.
In essence, A Simple Plan sounds like
some bizarre assignment given in an imaginary film music class - "Okay
students, today’s assignment - you must write a score that lacks two key
components of an orchestra, lacks any thematic presence, contains at least
two instruments that are out of tune, uses an over-bloated woodwinds section,
and makes use of any other additional strange instruments you like. Now
get writing!" Somehow, Elfman pulled it off - and I have no doubt
that this will be remembered as his quintessential score of the late nineties.
Ladies and Gentleman: The Anti-Sommersby
(a.k.a. The Bad and the Ugly)
Put simply, this release is the EXACT reason
why I rate a film score using three different criteria. As is so often
the case, here lies a work that is a fantastic film score, but a horrible
CD release. There are many reasons for this - most of which have to do
with Elfman’s choice of style. While it is true that Elfman could have
fashioned a stereotypical thriller score, or borrowed Carter Burwell’s
clever use of two simply contrasting good/bad themes (Fargo 1996), the
fact remains that Elfman wrote a score that was NEVER intended to be played
solo!
This disregard for the mainstream musical
audience is why A Simple Plan is so unbearable to listen to. This score
represents the pinnacle of Elfman’s late nineties style: track after track
lacks thematic presence, contains too many ear-drum piercing noises, and
consistently builds up to nowhere (in many cases, there are awkward moments
of silence interjected in the score). In addition, the music too often
morphs into a series of strange sounds - each more grating on the ear
than the next. There is little, if no beauty that can be heard. Though,
even for fans of dark music (like myself) there is little that is audible.
There are some bearable tracks - including Main Title (1), The Farm (4),
Stop It (7), Death (9), Burning $ (10), and End Credits (11), but as Hank
Mitchell would say - "Those are too few and far between." The
other tracks are all equally superb at capturing the eerie tone of the
film, but require too much volume adjusting in order for it to be a pleasurable
experience. Personally, I wish to avoid deafness (I’m not a big fan of
it), and I feel that playing this music at full volume to anybody should
be banned by the Geneva Convention, or some other world wide legal institution!
This is a score so disturbing that I won’t listen to it in the dark. It
borrows from such Elfman classics as Dolores Claiborne, Black Beauty,
Batman Returns, and Sommersby - but mutates the material into something
so wretched and unfeeling. In essence, this the anti-Sommersby: a poor,
minimal score that leaves an unpleasant, if not unsatisfactory, feeling
in my bones.
In addition, the amount of music included
on the CD is laughable at best (although nowhere near as insulting as
Elfman’s earlier "Mars Attacks" or Horner’s "Titanic").
Too many key cues from the film are missing from this CD - including the
First Murder (some amazing seven minutes of music) and Hank Sneaking into
the Gun Cabinet (another frighteningly savage piece). I suppose Compass
III Records thought it was being gracious by including three pop/country
songs. While I did enjoy the additional songs, it must be said that I
buy an Elfman score to hear Elfman’s music - not a bunch of pop songs!
I don’t care if this is an issue of a re-use fee or Elfman’s lousy editing
- it has got to stop!
A Simple Plan is a bittersweet score for
me: sweet - in that it’s finally a return to the composer’s darker, dramatic
works (I’ve never been a major fan of his comedic works); bitter - in
that it is as far away from his earlier, more Herrmannesque, "big
orchestra" pieces as humanly possible. Like many Elfman fans, I came
in on the batplane - I was first entranced by Batman, and then Elfman’s
other rich scores. Since 1995, Elfman has been distancing himself from
that Herrmannesque majesty and trying to forge a more unique style of
his own. Unlike many post-Batman fanatics, I applaud Elfman for doing
this, and hope he has great success in the future. For me, though, this
is the final straw. In the past (before 1995), I would buy any Elfman
score I could find and, for the most part, be pleased with the results.
For the past few years, though, I have had disappointment after disappointment
- all of which culminates in this, the most simple (and ear shattering)
of scores. I remember a phrase coined by another Elfman fan site concerning
this score (my apologies, but I can’t remember which site). In his review,
he stated - "Just because I can appreciate it, doesn’t mean I have
to like it." Well, I REALLY appreciate A Simple Plan. . .you can
guess the rest. . .
Ranger’s Result: Dolores Claiborne meets Sommersby at
a party hosted by Black Beauty in the TENTH LEVEL OF HELL! This score
is wretched, cold, savage, disturbing, and has a tendency to make my ears
bleed - which is exactly what it was intended to do. This is truly the
quintessential Elfman score of the late nineties, but there is no way
in Heaven, Hell, or Earth that I could honesty recommend paying the full
price for the CD. Sam Raimi’s film is certainly an "experience"
akin to the likes of Hitchcock - and so is Elfman’s music. Anybody interested
in Elfman’s career must experience this unbelievable score through at
least the audio samples. Although, I recommend renting and/or buying Sam
Raimi’s stunning film, and see how this score shines in every sense of
the word!
Notes:
- Was it just me, or did I hear Herrmann’s
Psycho strings during the fox attack?
- Speaking of Psycho, some of the string
work for The Badge seems reminiscent of the classic score (perhaps a
result of Elfman overseeing the adaptation of Herrmann’s score earlier
that year).
- Large sections of the action cues from
Tracks in the Snow are direct descendants of the Noisy Cricket cue from
MiB.
- The opening strings from Death are a
direct descendant of Dolores Claiborne.
- Another indication of the lack of music
(or lousy editing): if there’s a Betrayal Part 1, then where the hell
is Betrayal Part 2!?
- Elfman stated that he wanted to capture
a tone unique to this film - I think even the most ardent haters of
this score can agree he accomplished that!
Music as heard in the film: * * * *
Music on the CD: * 1/2 + Amount of Music on the
CD: * * = average of * 3/4
After three consecutive light hearted Elfman
scores, I was beginning to worry that Elfman was getting too happy for
his own good. I adore his "happy" works as much as the next Elfman fanatic,
but I've always felt that he's more at home when he's unleashing his musical
demons onto the screen. My faith was restored when, after waiting for
nearly three months, Raimi's grisly masterpiece A Simple Plan came to
my town. Not only did Elfman deliver one of his most haunting scores to
date, but he managed to all the musical complexities of his more recent
works while still giving us a hummable main theme. Unlike his more recent
scores, where the main theme is hidden under a mess of complex musical
ideas, A Simple Plan, always keeps the main theme riding on the top, with
the musical clutter filling the background.
The score itself consists of a sort of low
key Southern ensemble (think of it as Sommersby's evil twin), a slew of
heart piercing woodwinds, and a piano, so badly out of tune that it sounds
as if it's the ghost of a former piano. The piano is the first thing we
here in the first track ("Main Title"). Soon it's joined by a banjo and
a few woodwinds. Before long, we realize that one woodwind has started
steadily playing the eerie main theme. Other instruments join in, but
they stay in the background as the woodwind sings the main theme. It's
the perfect, walking-through-the-snowy-woods-on-a-chilly-evening music,
and therefore, works beautifully in the film. When the main theme is finished,
the music sort of dissolves into a less harsh, piano variation of what
turns out to be Jacob's theme.
Much of the score consists of variations
on the main theme (or rather, variations on the background music that
the main theme rests on). The most original variation is the second track
("The Moon"). It's 57 precious seconds of nothing but woodwinds (well,
OK, there are also some chimes in the background, but they're too subtle
to count).
The rest of the score consists of Jacob's
theme and a few horrific action tracks. The former gets its first full
playing in track 4 ("The Farm"). I'm not sure why Elfman only gives that
character his own theme, but if he was only going to give one character
a personalized theme, Jacob (played by a very fine Billy Bob Thorton,
who should have taken home the Oscar for his performance) was definitely
the strongest character to score for. Jacob's theme is both tragic and
sweet at the same time, perfectly defining the character. The theme is
at its greatest in track 9 (Death). Without a doubt, Elfman's forte is
death scenes (he even managed to turn the death of a goofy alien into
a tragic vignette in Men in Black). A Simple Plan is no exception and
(Warning: spoiler ahead) Jacob's suicide is probably Elfman's best death
scene since Batman Returns. He spins bittersweet variations on, first
the out-of-tune piano, then the woodwinds. It's one of Elfman's most emotionally
potent pieces of music.
The action tracks that I mentioned way back
in the last paragraph ("The Betrayal Part I" and "Tracks in the Snow")
are exciting, but Elfman maintains a serious, forbidding tone. In other
words, Elfman doesn't make the mistake of stepping out of tone and letting
the action sequences become fun.
Also excellent, is track 10 ("Burning $").
Following Jacob's death, it really packs a wallop, hitting an emotional
bull's eye on the angry satisfaction of Bill Paxton's character in destroying
the money that has cost him his soul (almost as if he's getting revenge).
Elfman then uses strings to underscore Bill Paxton's closing monologue.
The music then seamlessly dissolves into the end credits a suite that
surprisingly contains almost everything from the movie except the main
theme. That isn't to say that it isn't a great suite, however. It opens
with reflections on Jacob, then dives into the main titles stripped of
the main theme (which, as it turns out, is even creepier). Actually, I
lied, the main theme does make a brief appearance in the end credits,
but it's very subtle, and it's gone before we even realize it was there.
My only complaint about the soundtrack is
the length: we only get thirty minutes and we miss out on the music for
a key scene where Bill Paxton's character ( why can't I remember his name?)
commits his first murder. I'm not sure why they decided to add those three
songs to the soundtrack. Who are they for? I mean, it's not as if blues
fans who don't care about Elfman or the movie are going to buy the soundtrack
for those three songs. But at any rate, the music that is there is first
rate Elfman, and in my opinion, this is Elfman's best score since Mars
Attacks. A great score that is many things, but certainty not simple.
Film Rating: * * * *
CD Rating: * * * *
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