Unknown


Colosseum (4005939706425)
Varèse Sarabande (0030206706420)
映画 | 発売日: 08/03/2011 | 映画のリリース: 2011 | フォーマット: CD, ダウンロード
 

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# トラック   期間
1.Welcome to Berlin5:17
2.The Accident 2:36
3.Following Mrs. Harris4:51
4.Fond Memories / Epiphany3:55
5.Securing the File2:41
6.Man Alone2:48
7.Evil Car2:34
8.Book of Clues1:45
9.The Hospital 3:02
10.Gina's Story5:18
11.We Are Killers / The Bomb2:36
12.Old Friend / Truth Be Told3:08
13.They're Watching / Meeting Jeurgen2:42
14.Debating Martin3:42
15.Martin vs. Martin4:29
16.Nice to Meet You1:43
 53:07
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Unknown - 08/10 - その改訂 John Mansell, 提出された (英語)
UNKNOWN.
MUSIC BY JOHN OTTMAN AND ALEXANDER RUDD.
REVIEW BY JOHN MANSELL
Based on the 2003 novel by French author, Didier van Cauwelaert which was published under the title of OUT OF MY HEAD. UNKNOWN is an absorbing and attention-grabbing movie that has transferred well to the big screen from the novel. Directed Jaume Collet Serra, the film stars the ever watch-able Liam Neeson in the lead role of Dr Martin Harris. Who receives excellent support from, Aidan Quinn, Diane Kruger, January Jones, Bruno Ganz and Hollywood stalwart Frank Langella. The story deals with identity theft but has various other sinister and dark connotations. As you can imagine it is a quite disturbing and vexing story and has more twists, turns and excitement than a rollercoaster ride, this tone is underlined and further relayed within the tense sounding musical score by composers John Ottman and Alexander Rudd. The music conveys and emphasises the central characters frustration at events that are tearing his life apart and also punctuates, augments and highlights the urgency of matters as he attempts to convince people that what he is telling them is the truth. The score is not a majestic work, but it competently enhances the proceedings that are unfolding upon the screen, the music remains rather low key throughout and very rarely bursts into full flight, but in movies such as this with taught and often disturbing scenarios, this is I think is a sign that the composer is a master at his art and is serving the movies requirements rather than attempting to get a catchy tune out of an project. Track 7, EVIL CAR, is a cue that is of the action variety and the music here is certainly full on action, strings and brass more or less striding forward and carrying the central body of the composition, edgy musical stabs supported by swirling strings play out a dark sounding sense of urgency that creates an atmosphere of unadulterated tension and an overflowing ambience of anxiety, which is both harrowing and at the same time classy. This style of scoring is also present in track number 9, THE HOSPITAL, which builds tension upon apprehension with effectual use of percussion that is embellished further by the use of forceful and unyielding strings. This is a score of great merit, and with each cue we hear an upsurge in its levels of strength and intensity, the more concentrated it becomes the more thrilling and entertaining it is, weaving an interesting and strangely appealing and striking web of musical passages, sounds and phrases. Although UNKNOWN is not a melodious score or in anyway harmonious for any length of time, it still remains attractive because of its pure inventiveness and both of the composers ability to infuse the thrill factor into the music. It is a meagre sounding work in places but this for me just adds to the energy and overall mood of the proceedings. Worth a listen…
Unknown - 06/10 - その改訂 Damien , 提出された (フランス語)
Malgré les nombreuses qualités de la saga 'Jason Bourne', on est obligé de lui reconnaître le défaut (si c'en est un) d'avoir proposé une telle synthèse du film d'action, que le genre tout entier s'en est trouvé influencé... voire déclassé. Depuis lors il n'est pas rare de penser à Jason Bourne en regardant un autre thriller. Et ce qui est vrai au niveau cinématographique, l'est tout autant au niveau musical: avec ses violons acérés, John Powell a lancé un style nouveau, maintenant adopté par l'ensemble du cinéma d'action moderne.

'Unknown' ne déroge pas à la règle. Scénario d'espionnage (de surcroît, tournant autour de l'amnésie), scènes d'action épileptiques au montage nerveux et rapproché, héros traqué par une organisation puissante: tout est fait pour rappeler Jason Bourne. Côté musique, John Ottman (avec Alexander Rudd, jusqu'ici à peu près inconnu) ne quitte pas non plus le sillon Bourne, en offrant des compositions très efficaces au coeur du long métrage, mais qui perdent une partie de leur charme une fois isolée sur un disque. Piano et synthétiseurs prédominent, sur un fond de violons saccadés, alternant rythme essoufflant ('The Hospital') et passages plus posés ('Welcome to Berlin'). Si quelques pistes comme 'Gina's Story' montrent une belle inspiration, l'ensemble est à l'image du film: efficace et haletant, mais déjà vu.
Original Motion Picture Soundtrack
Music Composed by JOHN OTTMAN
(Superman Returns, Fantastic Four, Valkyrie)


Dr. Martin Harris (Liam Neeson) awakens after a car accident in Berlin to discover that his wife (January Jones) suddenly doesn't recognize him and another man (Aidan Quinn) has assumed his identity. Ignored by disbelieving authorities and hunted by mysterious assassins, he finds himself alone, tired, and on the run. Aided by an unlikely ally (Diane Kruger), Martin plunges headlong into a deadly mystery that will force him to question his sanity, his identity, and just how far he's willing to go to uncover the truth.

The heart-pumping score is from action veteran John Ottman (Superman Returns, Fantastic Four, Valkyrie).


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