Twilight Zone: The Movie


Film | Date: 2000 | Type: CD
 

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# Track   Duration
1.Twilight Zone Main Title0:42
2.Overture5:13
3.Time Out6:45
4.Kick The Can10:12
5.Nights Are Forever3:39
6.It's A Good Life10:52
7.Nightmare At 20,000 Feet6:53
8.Twilight Zone End Title0:45
 45:01
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Twilight Zone: The Movie - 10/10 - Critique de Jason FLZ, ajouté le (Anglais)
The Twilight Zone, by now, is one of the longest lasting franchises in history. In the 80's, a film anthology revolving around the concept came to the big screen. Twilight Zone The Movie was basically four different segments (each directed by a different director), closed off by a creepy bookend. The film is well known for the massive controversy around the death of an actor and some child performers, as well as ending the friendship between John Landis and Steven Spielberg. For the film's segmented score, came horror/fantasy composer Jerry Goldsmith.

First off, the classic Twilight Zone theme isn't integrated into the score, but rather used as bookends for the album. Jerry's score opens with the film's Overture, a mixture of all of the themes presented on the album. The first segment; Time Out, revolves around a racist sent back in time and put in all of the situations he took advantage of. Goldsmith pumps in alot of percussion (at times almost forming a march) to support the cue, although the background trows in a discordant piano. Synthesizer sounds are also added for effect. As a whole, Time Out is probably the least impressive track on the album.

The second segment is Kick the Can, a nostalgic look at old people feeling young. Kick the Can features some of Goldsmith's best work in general. The cue opens with a bold fanfare-like statement, followed by a very soft melody that serves as the main theme for the segment. Goldsmith's combination of the synthesizer and an orchestra is beautiful and haunting. A bouncy third melody is introduced halfway through the cue and reprised near the end as a lighthearted variation. Also included is a brief vocal statement by Scatman Crothers that really resonates. Kick the Can is the highlight of the score, easily enough. Halfway through album is a pop song sung by Jennifer Warner, nothing really special.

Third is 'It's A Good Life,' a story of a boy who can create whatever he wishes just by thinking it. The tone of the cue is dark and mysterious, making great use of orchestra and synthesizer which really stands out here. The main theme, heard straight off, is a good companion to the theme from Kick the Can and is somewhat in the style of Poltergeist. The melody that accompanies the house in the segment is a three note motif that is underscored with with creepy sounds. Halfway through the cue (and sounding fairly similar to Goldsmith's horrific moments in Poltergeist) Goldsmith suddenly bursts out with an explosion of wacky carnival style sounds. The effect is disturbing. The finale of the cue is a final repeat of the main theme in full orchestral form.

Finishing off the film (and the album) is Nightmare at 20,000 Feet, a thrilling story of a panicked man trapped on an airplane when he discovers a gremlin creature on the wing. Nightmare at 20,000 feet makes good use of droning brass and violins. In a way, it could be compared to John William's theme for Jaws. Also, aside from Kick The Can, it's the most effective cue on the album. The second half of the cue introduces a quirky violin theme for the creature that sounds very similar to Goldsmith's work on Gremlins. At the very end, the cue explodes into a broad action piece which is orchestrally mixed with the creature's theme. Ending off the album is a reprise of the Twilight Zone theme, this time with Rod Serling's dialogue.

Twilight Zone The Movie is a great tribute to the classic series, both theatrically and musically. It also happens to contain some of Goldsmith's best material. As far as album presentations go, the mix between; soft and beautiful music, harsh horror themes, and exciting bursts of action keep each cue fresh. Overall, this compilation score is impressive and showcases Jerry Goldsmith's best talent.


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