Con Air


Hollywood Records (720616209924)
Movie | Released: 1997 | Film release: 1997 | Format: CD, Download
 

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# Track   Duration
1.Con Air Theme1:34
2.Trisha1:05
3.Carson City3:07
4.Lear Crash4:46
5.Lerner Landing3:30
6.Romantic Chaos1:24
7.The Takeover3:54
8.The Discharge1:10
9.Jailbirds1:00
10.Cons Check Out Lerner1:56
11.Poe Saves Cops2:26
12.The Fight0:24
13.Battle In The Boneyard7:43
14.Poe Meets Larkin1:16
15.Bedlam Larkin0:51
16.Fire Truck Chase4:24
17.Overture4:19
 44:49
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Con Air - 06/10 - Review of Tom Daish, submitted at
It probably seems like damnation through faint praise to call Con Air Simon West's best film to date, but considering it was his first feature film, it's an effective addition to the Jerry Bruckheimer filmography, indeed it's a prototypical Bruckheimer production. It has a surprisingly good cast including Nicholas Cage, John Cusack and John Malkovich, the latter putting his always somewhat disturbing manner to excellent use as a psychotic villain. This all put together in an adrenaline pumping way with rippling torsos and improbably large explosions. It has few pretensions to genuine character development, but the various roles are outlined just enough for us to know the good from bad and care slightly about the outcome. The score was never likely to be a model of restraint, but a film like this needs something simple to bang away in the background and the combined efforts of Mark Mancina and Trevor Rabin do just that.

Although Rabin's solo efforts haven't always floated my boat, having him co-writing with Mark Mancina seems to work in his favour. Mancina hasn't quite eclipsed the early promise he showed with Twister and Speed despite a couple of decent outings for Disney, but he takes the Media Ventures style and, as much as is possible, makes it his own. Having said that, parts of Con Air sounds more like a typical Rabin score, it's all here; the simple, four note main theme (Con Air Theme) full of grim, determined heroism, a gentle guitar theme for the token moment of romance before the mayhem (Trisha) and a token moment of evil for the villain. In between occasional appearances of said ideas are swathes of percussion and ever so slightly dated sounding 80's electric guitar riffs that are undoubtedly Rabin's most important contribution to the score.

Many of the tracks are curiously short, but these little asides do serve to break up the aural assaults elsewhere and nowhere are they more prominent than the extended Battle in the Boneyard (get out those air guitars) and Fire Truck Chase where nothing less than mind exploding excitement will do. There isn't really anything classy about Con Air, but to expect anything else is pretty foolish and there is enough variety to prevent it sounding too samey. While much of it is synthetic, the orchestra is deployed surprisingly effectively, unlike in so many Media Ventures scores where everything seems to be playing at the same time, all the time. Calling it lightness of touch is probably an exaggeration, but it doesn't grind away in the manner of some Media Ventures efforts. Dumb, trashy fun.

As an aside, the song, How Can I Live, which was nominated for an Oscar (so they can put 'Oscar Nominated Action Thriller Con Air' on the posters - scary thought), isn't included on the album and there is no associated song album. Something of a marketing blunder in the current spin off song climate.
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