Saw 3D
Saw VII


Evolution Music Partners (0766929951822)
Movie | Release date: 11/02/2010 | Film release: 2010 | Format: Download
 

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# Track   Duration
1.Cauterize1:27
2.Tablesaw Intro1:49
3.Tablesaw2:48
4.Chase Jill1:23
5.Stitch Face1:10
6.Only You2:44
7.Talk Show3:44
8.Jill Dream1:28
9.Car Trap1:57
10.Support Group4:53
11.Hallway0:59
12.Junkyard2:29
13.Birdcage2:24
14.News Bar2:01
15.Strugglebeat1:01
16.Crazy0:44
17.Insane0:44
18.Quiet Nina4:42
19.Autographs2:58
20.Eye Trap4:01
21.Flashback2:55
22.Loved Ones1:09
23.Swat Team2:30
24.Teeth Tape1:33
25.Swat Teeth1:44
26.Fifty Cal1:39
27.Reach Bobby3:40
28.Roaster2:12
29.Dr. Gordon Montage2:06
30.The Final Zepp1:50
 66:43
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Saw 3D - 02/10 - Review of Anthony Aguilar, submitted at
My history with the Saw franchise and Clouser’s accompanying music is quite sparse. I will readily admit to nearly loving the first film. There was just something about the tone, atmosphere, and storyline that grabbed hold of me and never let up. It was a low-budget, relatively smart horror film (something quite rare these days). The film had scenes of torture and blood, but they were never drawn out to the ridiculously pointless lengths of the films that followed. The first film was more about the mystery and characters than the blood and torture. And in that previous sentence you have the distinction between the first film and most of the sequels that followed (with one possible exception). Suffice it to say, from what I’ve seen of the following films, I have never been a fan of the franchise. Charlie Clouser’s music is no different.

From what I’ve heard on the other Saw score soundtracks, much of the music just bangs and screeches with little to no thematic development or sustained melody. There is, of course, the preeminent and renowned Zepp theme that first prominently surfaced in the perfectly-scored final scene from the original film. Clouser took that theme and applied it to the twist endings of every film that followed. It is an incredibly simplistic theme that has nevertheless gone on to become something of a pop culture phenomenon (much like the films themselves), instantly recognizable to many. It is indeed highly enjoyable in its simplicity and villainously memorable. The fact that it features a small acoustic (as opposed to synthetic) string section only adds to its likability.

Zepp’s theme does figure in to the soundtrack for Saw 3D, but unfortunately is one of the only redeeming aspects of the score. Things start out quite promisingly, with the predictable opening “Cauterize” giving way to an up-tempo mutation of Zepp’s theme in “Tablesaw Intro”. Unfortunately, after such a promising opening, things go downhill fast with the hideous “Tablesaw”. Electric guitars, drums, and harsh electronics thrash away, ultimately going nowhere. There’s one other track that actually manages to be worse than “Tablesaw” and that is the awful “Car Trap”. If you’ve ever wanted to commit suicide but just couldn’t bring yourself to do it for any reason, then putting “Car Trap” on repeat may very well push you over the edge. It was all I could do not to push the “skip” button. There are other cues in the soundtrack that do stuff similar to this (typical “trap” music), and much of it becomes extremely repetitive and annoying as it reaches its climax.

There are slower cues like “Only You” and “Talk Show” but while cues like these serve as welcome reprieves to the bombastic, loud, abrasive cues that come before, there is still very little redeeming value. This is not to say that the entire album is without merit. There are some (relatively) interesting ideas that present themselves like an alien-sounding synth effect in “Insane” and a creepy, X-files-sounding keyboard motif in “Crazy”. There is another sort of “investigative” motif found in “Only You” that resurfaces once or twice throughout the album as well. Clouser, though, does not give any of his ideas any sort of development whatsoever and orphans them in their tracks. Had the Saw franchise been scored as it has been, but with individual recurring themes for the main characters and ideas then the Saw franchise’s music could have been a small triumph. But alas, it has been a largely wasted opportunity.

All that is disappointing about the Saw franchise’s film scores is again on display in this soundtrack. The fact that there exists a genuinely memorable, appropriate theme for Zepp (really, the entire franchise) only makes the score’s shortcomings more apparent (not that they needed help in that regard). Clouser clearly has some talent and has a gift for writing simplistic, memorable themes (Dead Silence) but refuses to craft anything intelligent out of his underscore. Admittedly, this may not be entirely his fault, as the studio and directors may have pressured him into this type of anonymous underscore. Whatever the case may be, what we have here is a depressingly, though perhaps predictably, wasted opportunity (both the films and their film scores) that is not remedied for this album. I would have thought, this being the final Saw film, that Clouser would have at least been able to show a little creativity, but even the Zepp theme at the end is a remix from the sixth film. Thankfully, this is supposedly the final chapter in this stupid franchise that, like this album, started out quite promisingly with the first film, but then went downhill from there.



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