The Adjustment Bureau - Thomas Newman

I think Thomas Newman scoring The Adjustment Bureau is a bit odd. Isn't it? I expected to see John Powell, Harry Gregson-Williams or ... Still, it's enough of a surprise to see Thomas and not Randy in the credits of Wall-E, but he did a fantastic job there. The Adjustment Bureau is another Philip K Dick adaptation; a writer who has done pretty well when it comes to turning his writing into celluloid - Blade Runner, Total Recall, Minority Report amongst the best well known. As I noted in a previous review, brief, high concept stories are ideal for blockbuster movies.

The Adjustment Bureau is ostensibly a thriller, but based around a love story and the concept of fate being determined by some overseers; the titular bureau. However, the romantic aspect leaves Newman a bit more room for a somewhat gentler approach. There is suspense and action, but the textures are somewhat lighter and less intensely ominous than one might expect. Having said that, from the breezy guitar led The Girl on the Bus, Square-One Reset is considerably darker. Unsurprisingly, the romance is fairly underplayed, even Real Kiss is pretty tentative, but the lack of any kind of romantic completion does give the album a somewhat unresolved quality.

Newman albums more often than not have a couple of non-score tracks or songs amongst them, but usually well worked into the flow of the album. I suspect grumbles will go up about the entries by Messrs Ashcroft and Vaughan. Rightly in the case of the latter which is drivel (a dance remix of the classic song Fever forming 7 minutes of aural abuse), but Richard Ashcroft (he off of the Verve, still proving the drugs don't work) collaborated with Newman and, as such, those efforts fit quite smartly within the album. If you were expecting a John Powell type effort, you might be disappointed (notwithstanding the plentiful percussion) as Newman plays it a bit more low key, indeed perhaps a bit too low key. It leaves an impression, but a subtle one based on atmosphere rather than striking melody, but when so many scores can feel so workmanlike and lacking in style, Newman is still a welcome musical voice.

Adjust your bank balance by acquiring this disc at Amazon.com.

Jane Eyre - Dario Marianelli

Oh goody, another version of Jane Eyre to go with the 432 other filmed versions, 100 weight of musicals, ballets and one in plasticine (possible lie). Where for Pride and Prejudice he filled the fairly large shoes of Carl Davis who did superb work on the 90's BBC version, Dario Marianelli is stepping into the epic galoshes of John Williams and Bernard Herrmann. Oh, and Roy Webb who scored the 1943 zombie version (not a lie).

I must admit that, lovely though his effort is, Marianelli's Jane Eyre is a bit, erm, dull. It's beautiful and delicate. It's exactly what you'd expect. But it isn't anything else. That's not necessarily a bad thing; even fulfilled expectations can be excellent. Marianelli seems to be in danger of doing a bit of a Desplat and remaining a consummate craftsman, but becoming rather samey. I'd be hard pressed to pick his Jane Eyre out of a lineup (especially if one of the suspects was his Pride and Prejudice up against the wall).

I know it's bad to benchmark too much, but both Herrmann and Williams filled their Eyres with drama and passion. Marianelli's is about as passionate as a Belgian taxi driver (I'm going to get letters), seemingly trying to never make too much of an impact. Of course it couldn't be scored in grand, melodramatic style given modern film making sensibilities, but it's wetter than Mr Darcy striding out of a lake. Sorry, wrong story. I have no doubt that it's gorgeous and apt in the film, but on disc you'd be hard pressed to notice it's there half the time. Undeniably gorgeous, but in need of a hearty dose of passion and drama.

Paul - David Arnold

After the success of Shaun of the Dead and the almost as good Hot Fuzz, Simon Pegg and Nick Frost can do nearly no wrong and Paul seems to continue the trend (not that I've seen it, although the trailer didn't look hugely inspiring). It looks like a comedy version of ET, but starring Roger from American Dad, although Paul is not as camp as Butlins. David Arnold worked on Hot Fuzz and evidently buoyed by the coup of getting a top Hollywood composer, Pegg, Frost and Arnold reunited for Paul.

As a cross between a sci-fi and a road trip, buddy movie, Arnold's music takes both in its stride; quite literally with the perky, folksy Road Trips with a bit of guitar and harmonica. Campfire Confessions is a little darker while A Little Talk With Paul and 1st Contact are pleasingly underplayed. The finale, Goodbye, is a pleasing riff on grandiose sci-fi finales, although ET is the most obvious comparator, even if Arnold is considerably more subtle than Williams (had to happen sometime, I guess).

The album is filled out with an eclectic, but somewhat noncommercial selection of songs, including a cover of Williams' Cantina Band music from the original Star Wars. One supposes there's a good sight gag to go with this in the film itself. Sometimes short and sweet works very well for a score and while half an hour might have been better, 21 minutes of David Arnold's delightful music seems about right (and it's entirely possible there isn't much else of note).

Fly to another world or order it from Amazon.com.