{"id":6391,"date":"2013-04-15T15:16:54","date_gmt":"2013-04-15T19:16:54","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=6391"},"modified":"2013-06-13T02:18:48","modified_gmt":"2013-06-13T06:18:48","slug":"cd-good-day-to-die-hard-a-2013","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=6391","title":{"rendered":"CD: Good Day to Die Hard, A (2013)"},"content":{"rendered":"

Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a> \/ <\/em>G<\/a><\/p>\n

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\"\"<\/a>Rating: Excellent<\/p>\n

Label: Sony Classical<\/a>\/ Released: February 19, 2013<\/p>\n

Tracks & Album Length: 26 tracks \/ (64:51)<\/p>\n

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Special Notes: 8-page colour booklet.<\/p>\n

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Composer: Marco Beltrami<\/p>\n

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Review:<\/p>\n

Reunited with director John Moore, Marco Beltrami\u2019s delivered another powerful action score filled with the aural scope and grandeur of the genre, plus nice injections of electronica, and while the film received highly disappointed reviews during its brief theatrical run, the score is one of the composer\u2019s best action efforts, if not one of the top action scores in recent years.<\/p>\n

Beltrami\u2019s approach to action is maintaining a state of constant agitation using churning strings, heavy bass pulses, and layers of kinetic material \u2013 all of which establishes a momentum which in A Good Day to Die Hard – <\/strong>never really lets up. Moore\u2019s small filmic output isn\u2019t great \u2013 he\u2019s already made the unnecessary remakes of The Omen<\/strong> (2006) and Flight of the Phoenix <\/strong>(2004) \u2013 but perhaps due to the former film, Beltrami\u2019s studious effort to craft a sound evoking Jerry Goldsmith\u2019s 1976 score with his own contemporary style has yielded a more firm grasp of orchestral dynamics and multi-layered rhythms.<\/p>\n

Beltrami\u2019s I, Robot<\/strong> (2004) was also an important stepping stone wherein the composer found the right mix of depicting a story’s dramatic scope, its potent humanist theme, and kinetic music for a series of elaborate pursuits and evasions, whereas his first Die Hard<\/strong> film \u2013 Live Free or Die Hard<\/strong> (2007) \u2013 forced a need to add some self-referential humour, in addition to evoking the sound of the franchise\u2019s pre-eminent composer, Michael Kamen.<\/p>\n

Sony\u2019s CD begins with a quote of Kamen\u2019s witty use of Beethoven\u2019s \u201cOde to Joy,\u201d and in several cues there are short quotations of Kamen\u2019s original suspense theme (both Beethoven + Kamen\u2019s spiraling figures are neatly interwoven in \u201cTo the Safe House\u201d). Like Kamen, Beltrami also has fun with the inherent goofiness of the franchise, and while not quoting classical works as Kamen had done in each of the first three films, there are some allusions in Live Free<\/strong> to James Bond through some striking brass orchestrations (\u201cTruckzilla (Act 2)\u201d), and eerie chords that are softly reminiscent of Bernard Herrmann.<\/p>\n

Rare slow cues excepted (\u201cFather & Son\u201d), Good Day<\/strong> is all muscle, and Sony\u2019s CD offers a solid action narrative within a meaty 64 minute presentation.<\/p>\n

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\u00a9 2013 Mark R. Hasan<\/p>\n

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External References:<\/p>\n

IMDB <\/a>— Film Review<\/a> — \u00a0Soundtrack Album<\/a> — Composer Filmography<\/a><\/p>\n

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Select Merchants:<\/p>\n

Amazon.ca<\/a>\"\" —<\/span> Amazon.com<\/a>\"\" —<\/span> Amazon.co.uk<\/a>\"\" —\u00a0BSX<\/a> —\u00a0Intrada<\/a> — iTunes<\/a> —\u00a0SAE<\/a><\/p>\n

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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack Reviews<\/a> <\/em>\/\u00a0G<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ G . Rating: Excellent Label: Sony Classical\/ Released: February 19, 2013 Tracks & Album Length: 26 tracks \/ (64:51) . Special Notes: 8-page colour booklet. . Composer: Marco Beltrami . . Review: Reunited with director John Moore, Marco Beltrami\u2019s delivered another powerful action score filled with the aural scope and […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[20],"tags":[216,526],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1F5","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6391"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6391"}],"version-history":[{"count":8,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6391\/revisions"}],"predecessor-version":[{"id":6749,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6391\/revisions\/6749"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6391"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6391"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6391"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}