Wwe boogeyman scares john cena

Wwe boogeyman scares john cena

Warning there are film spoilers in my review below: It took amasterpiece such as the Lady in the Water soundtrack to convince me of the brilliance of James Newton Howard. Considering that, up until this time, Signs had been my favorite work of his and Ihave hardly heard his entire repertoire, Iexpected an equally poignant work for Lady in the Water. Little did Iexpect to be blown away so completely by thescore. Take the most scary moments of the soundtrack for The Sixth Sense, the thematic progression from Unbreakable, the simplistic ostinatos from Signs, throw in adose of Peter Pan s jocular though fully mature fantasy and you can begin to get asense of the amazing work that is Lady in the Water. Going back amoment, James Newton Howards penchant for developing musical themes or motifs for films before they have even been shot a luxury the likes of legendary composer John Williams only received afew times, such as Hook, or Harry Potter II came through in spades for the soundtrack to Signs which, in my estimation, produced amusical finale that ranks with some of this centurys greatest musical work. But the Signs soundtrack did suffer from uniformity among many of its other tracks that did not lend it to represent aconclusive masterwork from JNH. This problem is all but gone from the Lady in the Water soundtrack, with only two tracks The Party, and Officer Jimbo that get alittle flat by theend. But these two tracks, and the few bumps they throw into the soundtrack are not nearly enough to offset its shiningly magnificent representation of James Newton Howards effective restraint and masterful balance of the entire orchestra. Opening the album with the enchanting Prologue, James Newton Howard immediately and subtlety introduces us to the Blue World from the film. Starting with abasic piano ostinato that goes through four different progressions the first progression is almost identical to the string ostinato JNH used in The Venture Departs track from the King Kong soundtrack, as asimple matter of trivia, JNH then layers on his beautiful, descending theme for the Blue World. But not before, in the same Prologue track, he introduces us avariation on the rapidly descending Evil theme that appears more in full in later tracks. Though Im not abig fan of the Signs like string work in The Party, this track nevertheless creates the proper tension for the nearing climax of the film that this section goes to. Following this long track is Charades, the music to the clever scene in which Story provides wwe boogeyman scares john cena without actually saying anything. This moving piece, which receives areprise in Cereal Boxes features arepeating motif which is derived from the Blue World ostinato but is faster though less emotive, and tends to accompany discovery and wonderment in thefilm. The Blue World and Walkie Talkie, both which seem to have innocent enough titles, feature some dangerously aggressive musicbut with brilliant punctuations of the Blue World ostinato and the Evil theme respectively. While the entire first 2/3rds of the album is magnificent and beautifully listenable in and of itself, it is the last three tracks that make this album the masterpiece it is. Starting with The Healing, the track that accompanies Heeps healingboth of himself and Story, James Newton Howard crafts some of his most beautiful music Ive ever heard. The brilliance of this track, and much of the album in general, is the way JNH works with multiple parts of the Blue World themeboth the underlying piano or string ostinato, and the melody usually string or clarinet. In The Healing, James Newton Howard uses both of these parts to their fullest extent, wwe boogeyman scares john cena beginning the ostinato as Story is healed, and then the Blue World theme as she comes back to life. James Newton Howard continues to balance these two elements of the singular theme as he builds toward the finale. Blending right from the previous track without apause, The Great Ealton begins with some dark chords and astatement of the Evil themeand the tension does not stop there. Arousing section of action music begins with the brass playing full-bore with strings accompanying. Though this section is amazing itself, it builds to an absolutely stunning chorale moment that Isimply cant describe with words. As the amazing choir accompanies the sight of the great bird that descends to bring Story back to the Blue World, he musical climax only intensifies. The music and choir build to one of the most amazing, jaw-dropping statements of the Blue World theme, sung by the choir to form amoment of pure musical genius. The theme continues with rapidly bowed strings playing the descending Blue World ostinato creating amusical work that rivals even the magnificent moments in the climax of Signs. But things arent over. A trumpet flourish adds further tension and after some action moments, the soaring brass brings the amazing events that unfold on the screen to their resolution as the three mystical creatures emerge from the forest and our ordinary heroes are free from the enemy that has been haunting them. The music breaks free into the Blue World theme once again, but this time the Piano takes the lead, playing its ostinato as loudly as the melody. Highlighting Storys final moments, this rendition of the Blue World theme is the most gorgeous to be found on the entire album. As Story is taken away, the music rapidly comes to ahalt and the choir, in atouching and understated way, sing the Blue World theme for the very last time in the film. The End Credits track, though noticeably absent any part of the Blue World theme, nevertheless closes the album hopefully with some harmonious melody that is distinctly James Newton Howard. Since it made no sense to reprise the Blue World theme over the end credits, aremix of the original Bob Dylan song The Times They Are a-Changin follows seamlessly wwe boogeyman scares john cena the End Credits track. Three other Bob Dylan reorchestrations followyour mileage may vary depending upon your taste for such music. I personally found most of the songs marginally appropriate the last two less so, but they are not representative of James Newton Howards work, and Iwill not focus on themhere. Throughout the entire album, the tight integration of the music to the events onscreen jumps out very quickly. Ifound it fascinating that nearly every theme, motif, and repeating phrase descends the scale, creating asingular, flowing, motion that is hard to ignore.