Evolution


Colosseum (4005939625627)
Varèse Sarabande (0003020662562)
Película | Fecha de lanzamiento: 2001 | Medio: CD
 

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# Pista   Duración
1.The Meteor0:52
2.Cells Divide1:23
3.In The Hall By The Pool1:42
4.The Army Arrives1:07
5.The Ira Kane?1:10
6.Fruit Basket For Russell Woodman0:44
7.The Water Hazard0:47
8.Burgled1:15
9.The Forest2:10
10.The Cave Waltz1:01
11.Blue Fly1:26
12.Cutie Pie2:17
13.Animal Attack1:09
14.Dino Valley2:04
15.The Mall Chase4:31
16.Monitors Out2:39
17.Room For One More1:28
18.Fire0:41
19.Selenium1:08
20.The Fire Truck2:27
21.The Amoeba Emerges2:12
22.To Go Where No Man Has Gone Before3:27
23.Our Heroes2:22
 40:01
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Evolution - 06/10 - Crítica de Tom Daish, Publicado en (Inglés)
To see John Powell's name without that of Harry Gregson-Williams alongside, is almost a surprise, so good were their efforts for Antz and Chicken Run. While his score for Ivan Reitman's comedy isn't quite as good as either of those cracking efforts, it's still far more enjoyable than the mediocre comedy that it was written for. Despite David Duchovny's laid back, dead pan delivery and some inspired creature designs and effects, Reitman's comedy simply isn't all that funny. As many reviewers have commented, it would have been interesting as a serious sci-fi thriller as originally intended. Certainly several sequences could have been genuinely quite terrifying if it hadn't been a comedy. Even a more daring downbeat conclusion could have been used instead of the vulgar product placement 'comedy' solution, which is attempting to out-do Mars Attacks' Slim Whitman routine but fails.

Powell generally avoids playing the music for laughs, but unlike the sugar laden drivel of romantic comedy scoring, the nature of the film allows for a more robust and exciting effort. The more serious and exciting moments, notably toward the end are actually terrific fun, The Mall Chase being a particular highlight. It also has the benefit of being a considerably more extended than cues in the first half, which are often stinger cues with the music not really having time to go anywhere or develop much. However, the cues covering the finale of the film are also rip roaring action fun, nothing subtle here at all, but hugely entertaining none the less. There are a couple of major themes, but they aren't nearly as good as those for either of the animated films, although the overall effect of the score is favourable.

Powell seems to be able to take the Media Ventures sound and turn it into something that sounds a little less manufactured and while the first half never really finds its feet, once he gets going, Powell doesn't let up until the end. Not exactly great art, of course, but a score like this isn't about art or taking itself seriously at all, it's about having a good time and Powell certainly delivers the goods.

As a side note, the very observant might notice that the liner notes contain a list of the musicians in the orchestra, named the The Hollywood Studio Symphony. This is part of a new deal to allow for longer soundtrack albums through lower re-use fees for union scores where the album isn't likely to sell in great numbers. Certainly great news for Varese and other labels who can't always afford to stump up for very long albums. It's a shame that they don't name the orchestras after the studio the film is produced by such as the 20th Century Fox Orchestra, as happened for many golden age scores. In this case, the Dreamworks Symphony Orchestra has a nice ring to it.
Evolution - 06/10 - Crítica de Andreas Lindahl, Publicado en (Inglés)
John Powell is probably one of the more popular up and coming composers working in Hollywood today. The reason being the highly praised collaborations with Harry Gregson-Williams on the scores for Antz, Chicken Run and Shrek. Member of the Media Venture gang of composers, Powell (and Gregson-Williams) has succesfully seeked new ways, leading away from the traditional Media Ventures sound, proving that the Media Ventures composers are far from untalented hacks, despite what many like to claim. No, I'm not one of them.

Evolution is director Ivan Reitman's big return after several years of silence, the successful Ghostbusters films being his last films before his long absence from the Hollywood scene. Evolution is very much in the same vein as those films. Although, this time the ghosts have been replaced with aliens, and Bill Murray, Dan Akroyd and Harold Ramis with David Duchovny, Orlando Jones and Julianne Moore.

The score for Evolution can be described as a mix of Chicken Run and Danny Elfman's score for Men in Black. It shares orchestrations and thematic resemblance with the former, but has the same quirky, twisted sound as the latter. It is a nice mixture, actually, and makes for a score that is quite entertaining, even if some cues are far too short to actually be interesting, others being a little too slapstick and "Mickey Mousing" oriented and some too... dull.

A typical John Powell theme enters in track six, "Fruit Basket for Russell Woodman". It's a upbeat march with a very playful theme, that very well could have been written for Chicken Run instead. Short, but great. It's followed by some lively action music in "The Water Hazard". Although with the cue being only 47 seconds, it doesn't last very long. "Cutie Pie" is quite nice, with some slow, attractive lounge music, followed by a short, but bombastic, fanfare sounding outburst by the entire orchestra. "The Mall Chase" offers some really entertaining action scoring, with lots of brass and percussion. For fans of Antz and Chicken Run, without doubt. The closing "Our Heroes" is the highlight of the entire disc, giving the listener one, final bombastic version of the main theme and other major themes.

Over all, Evolution is a rather entertaining score, with some really great tracks. Putting together a ten to fifteen minute long suite based on this material wouldn't be hard at all.
Evolution - 09/10 - Crítica de Grégoire Gosse, Publicado en (Francés)
John Powell dans toute sa splendeur! Toujours des thèmes très accrocheurs que ce soit les thèmes émouvants ou plutôt déchainés.

Une entrée d'album avec trois morceaux sans grande importance. John Powell expose le premier grand thème avec The Army Arrives. Comme dans le score de Ice Age ou Hancock, on retrouve encore une guitare qui donne cette couleur, cette sonorité si exceptionnelle aux musiques de ce compositeur.

On trouvera donc du grand John Powell sur ce disc avec The Mall Chase (morceau grandiose, avec un orchestre au grand complet), un morceau des plus romantiques (Room For One More) toujours avec cette fameuse guitare qui est extrement efficace!

L'album se termine par To Go Where No Man Has Gone et Our Heroes, deux morceaux très efficace qui reprenent les gros thèmes principaux de ce score et qui clôture ce cd de la meilleur façon possible.
La música de este soundtrack fue utilizada en:

Peter Pan (Trailer)
Sahara (Trailer)



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