|2.||Post College Montage||3:42|
|4.||Four Life Paths||1:18|
|5.||Sam Gets the Job||0:48|
|11.||Casey & Kiley||1:30|
|14.||Graveside - Casey's In||2:25|
|15.||Our Disguise is Crucial||2:19|
|17.||Alec on the Run||2:07|
|20.||New Love - Cops||1:02|
|22.||Alternate Main Title||1:33|
|23.||Sam's Too Late||1:03|
|25.||Liquor Store Hold Up||0:32|
| ||42:34| Submit your review
Music history isn't exactly littered with musical great dynasties, they always seem to fizzle out quite quickly. Probably the biggest and most significant is perhaps the seemingly endless stream of Bachs, many of whom were more famous than JS at the time, yet with hindsight most are only mentioned in his shadow. The Mozart family had more than a few other talents in its ranks outside Wolfgang (notably his father and sister), but the run away film music dynasty is undoubtedly the Newmans. True, Goldsmith Jnr and Morricone Jnr have both joined the family business, but where they have an exceptionally talented father to compete with, Joey Newman has several cousins, parents, uncles and grandparents with whom he can be compared.
Everything about Stealing Time suggests up and coming, from the actors to the composer, it's something of a sophomore effort. Perhaps, given the relation (cousin, or thereabouts), it seems even less surprising that Stealing Time often owes a lot to Thomas Newman's approach with a succession of fairly short, percussion based cues and a brief, but catchy piano main theme. Most of the cues feel to be leading to the film's centrepiece, The Heist, where Newman is permitted a longer musical indulgence, although many of the musical ticks bring to mind a thriller version of portions of Finding Nemo - odd as the films are totally unalike and further as Stealing Time actually predates Thomas' Pixar effort; a 2001 flick, but re-released in light of the substantially higher profiles some of the cast have achieved since.
The score proper ends with the quietly downbeat Death Montage. However, after that are bonus cues, notably the Alternate Main Title which really does sound like an outtake to a Thomas Newman score and was perhaps rejected on the grounds of overfamiliarity. Of course, to specifically chastise Joey for aping Thomas is grossly unfair as his style is still musical flavour of the month for films wanting a veneer of quirkiness, with a little edgy energy and plenty of cool. However, as most of his relations have formed very distinct musical personalities, it probably won't be too long before Joey establishes his. An effortlessly enjoyable score that, while never destined to be a great work, is every bit confident as one would expect from a longer established composer. Still, I bet David is glad to have a relative working on less auspicious projects than he generally does (at least for the moment).
Composer Joey Newman, an exciting new voice in movie music, hails from the famous 'Newman' family of composers, whose members include his Great Uncle Alfred Newman (THE ROBE, HOW THE WEST WAS WON) and his Cousins Randy Newman (SEABISCUIT, TOY STORY), David Newman (ICE AGE, THE NUTTY PROFESSOR) and Thomas Newman (AMERICAN BEAUTY, SIX FEET UNDER, FINDING NEMO).
Joey, who has composed music for the acclaimed TV shows ONCE AND AGAIN and PROVIDENCE, fashions a rich, evocative score in the tradition of AMERICAN BEAUTY and SIX FEET UNDER for the dramatic thriller STEALING TIME, starring Scott Foley (FELICITY, SCREAM 3), Peter Facinelli (FASTLANE), Ethan Embry (SWEET HOME ALABAMA) and Jennifer Garner (ALIAS, DAREDEVIL). The film is currently a nationwide DVD release. CD features exclusive liner notes from the composer, director, and more..