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I'll try to explain myself more with the scores I wasn't a big fan of. I really like a lot of Gears of War 3. It has a lot of faster paced, melodic action cues, and the cues from Gears of War 2 are improved. Its main problem is it's not very memorable, which Jablonsky is usually able to produce. <br><br>Ender's Game I found to be a bit of a slog. There was a lot of ambient/sound design cues which I found incredibly dull. However, it's possible I was expecting too much, or maybe I was too harsh on it. I'll try to have another listen to that one. <br><br>Gangster Squad was one where I just looked at the comments to see what people thought about it, and the consensus was "it copied every recent Hollywood score", so I just skipped that one. <br><br>TF3 had a lot of good thematic material, and the finale's action music was a lot of fun, but it lacks the memorability and excitement of the first 2, or the subtlety of 5, making it fall in the middle for me. Plus the Inception sound was pretty annoying. <br><br>Gears of War 2 falls into mediocre for me. The main theme is solid, but the action is repetitive and doesn't have much variation. Plus it also wasn't very memorable. It's basically a worse version of Gears 3 to me. <br><br>Transformers 1 and 2 don't really count to me because those were more an RCP effort than a Jablonsky one. Just to clarify, I don't hate that Jablonsky went down this route. I first learned of his existence through the Transformers scores for god's sake. It's just that listening to Steamboy, it makes me sad there wasn't more of this side of Jablonsky. Oh, and honorable mention to TMNT: Out of the Shadows, that was a great superhero score!Gangster Squad was Ok, but i prefer Ender's Game, actually the sound design in that i find it certain interesting.<br><br>In Battleship, yeah, it's nothing original, but for me, is a guilty pleasure, i love the percussion (i'm a big fan of the taiko sound)<br><br>Enderís Game isnít bad at all, there are some cool power anthems and orchestral moments in it. As for Battleship, while I find most of it generic, I genuinely do like the alien ďMRIĒ sound design he incorporated.<br><br>And one of Jablonskyís most underrated scores imo is Gangster Squad. If you want a fun Jablonsky score that strays away (mostly) from the Zimmer sound thatís it. Any score using Antz as a temp track is fine by me!I will disagree with TF3, Ender's Game, Gears of War 2 and 3, there are good scores, altough i'm a massive fan of that guilty pleasure is Battleship ;D<br><br>And A Nightmare on Elm Street was cool.John Powell to receive Henry Mancini Award. <br><br>Look it up at filmmusicreporter.<br><br>Congrats John
Edmund's right. It's really just sad that Jablonsky could have been one of the greatest composers ever, one with more notoriety and respect from the music community, but instead settled for being... a decent composer.<br><br>TF5 was a step in the right direction, D-War was a great monster movie score, Your Highness came close to Steamboy levels, and IDEA felt like Jablonsky's symphony in a lot of ways. But on the other end you have Ender's Game, Transformers 3 and 4, Battleship, Gears of War 2, Gears of War: Judgement, and a few others that range from ok, to flat out awful. Occasionally though you get some decent ones like Gears of War 3, and A Nightmare on Elm Street.<br><br>My point is, we get a composer overridden with bland projects, and musically inept directors, when he had the potential for being Oscar level.This just occurred to me. 1:44-2:10ish in Remember Who You Are kind of sounds like part of Mozartís Ave Verum Corpus...and we know Hans is a fan of that piece...@mpolonest: I'm the opposite side: BvS grown each time i listened.<br><br>Not the same for MoS ;D@DS<br><br>You are absolutely right, and it was something that I did think about while I was writing the post, I just never clarified it. <br><br>But that also has the opposite effect as well. I've had plenty of scores/songs which originally I liked that I gradually grew to dislike or simply lose interest. One of the most recent ones is BvS, which I enjoyed when it came out but looking back is probably one of my least favorite Zimmer scores.@Edmund @Ds totally agree! This days the only composer that convince me is Steven Price.
Is there a Balfe score that is not very temped? Every single Balfe score I listened to is basically giving an old score a fresh set of paint.mpolonest123: it's difficult to compare scores that are 10 years old and that you had plenty of time to digest, with brand new scores you've only heard a couple of times.<br><br>You said it yourself, when Clash of the Titans came out you thought it was generic and forgettable. It's only later that you noticed all these themes and all the work Djawadi put into it.<br><br>And actually it works like that with any new album released by any major artist. Fans are always like "it sucks, I prefer their previous albums". And yet 5 years later they love all these songs and know them by heart. :-pEdmund: I see your point, and if everyone could become 100% objective it would be actually true. But in practice, our personal tastes play a heavy role in deciding whether a score is interesting or fun or creative or intelligent or enjoyable. Some people like very classical, orchestral music more than anything else; even if JXL was creating the craziest soundtrack ever, his sound palette and synthetic approach alone would be enough to make these people dislike the score and say it's rubbish. The level of detail he put in Tomb Raider is astonishing, but sadly it'll only be noticed by people who are not upset by this style of brutal and synthetic environment. Of course it also works the other way, dry orchestral scores like Giacchino frequently writes do nothing to me, I don't particularly like this kind of sound, so I never spent a lot of time listening to them. As a consequence, I never was able to dissect them to discover all their (I guess) richness, subtleties, etc. So from my point of view, almost all Giacchino scores sound the same way and are not interesting, and I don't understand how and why he keeps getting all those major assignments. That's to say, our personal preferences will always interfere with our judgment, even if we honestly try to be fair.I feel like I see/have this kind of conversation on film music boards all the time. The approach isn't the problem, it's the execution. For example, when Man of Steel came out:<br><br>me: "I'm a bit disappointed by Man of Steel, it has its moments but I don't think it's a very good score overall"<br>fanboys: "JOHN WILLIAMS WAS YESTERDAY, ZIMMER IS TODAY, THIS IS A DIFFERENT SUPERMAN BLAH BLAH BLAH GET OVER IT"<br>me: "...did I mention Williams?"<br><br>or else Mad Max: Fury Road<br><br>me: "Mad Max is a decent score but I feel like the film deserved much more"<br>fanboys: "THERE'S LITERALLY A DUDE ON A DRUM CAR WITH A FLAMETHROWER GUITAR WHAT DID YOU EXPECT"<br>me: "...a composer who does more interesting things with those drums and that guitar?"<br><br>All over the place. It was really aggravating. This is a similar situation A talented film composer can write interesting, engaging music in all sorts of styles, for all sorts of films and under all sorts of directorial conditions. My issue with Tomb Raider isn't that it's not a traditional Jerry Goldsmith adventure score. I never expected that from this film, and certainly not from this composer. It's just not a very interesting or intelligent or enjoyable version of what it's trying to be, and that's the bottom line.@mrzimmerfan <br><br>I completely agree with you. Tomb Raider definitely didnít need a traditional score at all. And I love all the scores youíve mentioned. I even donít have a problem with the approach he took.<br><br>But I just donít like the score as is. We just have to agree to disagree, no harm done. :-)
I don't think he means that, just that it would have been interesting if Jablonsky had gone more into animated movies like Powell did, rather than mostly Michael Bay. I think maybe we got a hint of what that could have been like with Your Highness a few years ago, a score I'll always defend, but yeah...the lack of follow-up to Steamboy is a great tragedy in Jablonsky's career.@mpolonest: I will enjoyed more Run All Night than Mad Max, hell, even The Dark Tower.<br><br>But with Tomb Raider, this movie is harsh, with a real character, and an adventure score a la Goldsmith or JNH, will not benefit anything about it. And in there, there is a lot of great sounds and ideas pop up in all the score.<br><br>And this is telling you a guy who LOVE The Mummy, The Mummy Returns, the entire Indiana Jones and Jumanji scores.@mpolonest: I will enjoyed more Run All Night than Mad Max, hell, even The Dark Tower.<br><br>But with Tomb Raider, this movie is harsh, with a real character, and an adventure score a la Goldsmith or JNH, will not benefit anything about it. And in there, there is a lot of great sounds and ideas pop up in all the score.<br><br>And this is telling you a guy who LOVE The Mummy, The Mummy Returns, the entire Indiana Jones and Jumanji scores.I don't think Jablonsky is going to be a new John Powell ;)<br><br>But this one of his most notable efforts, i will said that.This is feels like a very temped soundtrack, only that explains why the score is so generic. I wonder which movies music scenes producer-director used to make lorne do this. <br><br>Track 8 - is Tron legacy (dont know maybe he worked on it, powell was involved maybe he was too)

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Atli ÷rvarssonDavid FlemingMartin TillmanClaudio Olachea
ComposerAdditional MusicMusicianScore Technical Assistant
Label: Varese Sarabande
Length: 37'25 rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (3005 votes)


  1. Evidence (4:16)
    Atli ÷rvarsson, David Fleming, Martin Tillman
  2. Check The Tape (4:08)
    Atli ÷rvarsson, David Fleming, Martin Tillman
  3. The Blowtorch (2:40)
    Atli ÷rvarsson, David Fleming, Martin Tillman
  4. Rewind (1:31)
    Atli ÷rvarsson, David Fleming, Martin Tillman
  5. I Am God (1:45)
    Atli ÷rvarsson, David Fleming, Martin Tillman
  6. Just A Game (2:40)
    Atli ÷rvarsson, David Fleming, Martin Tillman
  7. I've Been Waiting For You (2:09)
    Atli ÷rvarsson, David Fleming, Martin Tillman
  8. No More Video (4:13)
    Atli ÷rvarsson, David Fleming, Martin Tillman
  9. That's Not Our Driver (1:03)
    Atli ÷rvarsson, David Fleming, Martin Tillman
  10. Luck Of The Irish (6:09)
    Atli ÷rvarsson, David Fleming, Martin Tillman
  11. Finding Fleishman (0:48)
    Atli ÷rvarsson, David Fleming, Martin Tillman
  12. Case Closed (2:45)
    Atli ÷rvarsson, David Fleming, Martin Tillman
  13. Deleted Scenes (3:12)
    Atli ÷rvarsson, David Fleming, Martin Tillman
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AtliFAN reply Replies: 3 || 2015-09-05 21:05:05
Complete Score:

01 - Evidence (04:14)
02 - The Calvarys Arrived (01:15)
03 - Everything On This Tape Matters (00:35)
04 - Who's That? (01:25)
05 - Finding Fleischman (00:44)
06 - That's Not Our Driver (00:24)
07 - Blowtorch 02:34)
08 - You're Gonna Wanna See It (02:35)
09 - I've Been Waiting for You (01:18)
10 - Positive (00:49)
11 - What Was That Abot? (01:41)
12 - No More Video (00:38)
13 - A Big Fucking Game (03:38)
14 - Luck of the Irish (04:59)
15 - We're Gonna Get Him (04:03)
16 - Case Closed (02:50)
17 - Deleted Scenes (03:02)
18 - End Credits (05:10)

Total Duration: (42:02)

Can you add this Hybrid?

And The Perfect Guy filmmusicreporter. com/2015/09/04/the-perfect-guy-soundtrack-details/

Hybrid Soldier2015-09-20 14:36:53
Hey dude now you can check, I updated Atli a lot, adding audio, pages & stuff...

Zod2015-09-20 23:46:51
and yet nothing from man of steel :(

Hybrid Soldier2015-09-20 23:51:04
Well I even asked Atli himself but he didn't want to say ! :)

But honestly, trust me, stuff like Bus Rescue or Faora Attacks definitely have some Atli ! :)

Hybrid Soldier reply Replies: 5 || 2013-07-08 19:55:55
This is a very cool electronic little score (like, 100% electronic), some kind of a mix between Tron Legacy & The Fourth Kind. :)

Aytekin2013-07-18 03:38:47
Wicked :p

Hybrid Soldier2013-07-28 14:58:02
Little "who did what" added ! :)

Waspie2013-08-01 19:39:21
From where you get information about who write each track, i known someone using ASCAP but is there any way to use it for free, or any alternative? Can someone share some more details about that.

Hybrid Soldier2013-08-01 19:43:00
I have many sources, not only ASCAP. That one is not there (yet) for instance ! ;)

And it is public...

Waspie2013-08-02 00:07:17
Can you share some more info where to look for details about composers/writers for individual tracks for ost and scores?© 2001-2017 OST 
Evidence soundtrack - Atli ÷rvarsson 2013