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He's right, it's outCheck Soulseek ;)He posted it before this site added the tracklist.Did you just copied and paste the tracklist above? lmaoThe reprise of "Batman on Fire" from Begins (1:59-2:30 in the Transfiguration suite) is good stuff! I wonder why Hans decided to reuse that particular idea.
When are we going to see you in Chicago?Indeed, this score reminds me — in a good way — of The Rock.Track 11, Onwards, here is my most favorite cue from the CoH franchise. It has that old school "power anthem" thing going on about it with full force. I truly wish this style is brought back to life again soon.Are there any more tour dates planned?Lord of the Rings - Shore<br>Battlestar Galactica - McCreary<br><br>Both are up there as my two favorite collection of works. GOT doesn't even compare to BSG. <br><br>For solo albums, my candidates are:<br><br>Titanic<br>The Lion King<br>Interstellar<br>Memoirs of a Geisha<br>Jurassic Park<br><br><br> <br><br>
@superultramega<br>Honestly I feel like most of the issues with AUJ (and the other two hobbit films) were stemming from Peter Jackson editing the hell out of the music after the fact. It could be why they ended up dumping some themes in the following films.<br><br>Still, I don’t understand some of the criticism that the Hobbit trilogy scores received. DoS has some of the best action material imo, and the interpolations of Smaug’s theme(s) throughout the films are personally some of my favorite music from any LoTR project.<br><br>And this might be controversial, but I would put PoTC (the first three at least) on the level of Lord of the Rings in terms of the sheer amount of themes and development they receive. Maybe not quite as complex but they shouldn’t be overlooked.The Lion King and The Last Samurai are good choices, but I'm not as much of a fan as Zimmer's aesthetic or thematic work nearly as much as Howard Shore, or even Jablonskly at times. Game of Thrones I still can't comment on as I've never watched the show, or payed attention to Djawadi in general.<br><br>I would say Shore's heart wasn't in Desolation and Five Armies, but to say that about Unexpected Journey doesn't really feel right to me. Even themes like Gondor Restored and Nazgul's uses have some logic to them. <br><br>Gondor Restored was also used when the Ring is destroyed, meaning it also has a secondary meaning of victory against evil, (yes I know it affected Gondor too, but Gondor it isn't as direct). Which also applies in The Hobbit, as Bilbo saving Thorin was not only important for their relationship but also the future of Middle Earth as Thorin is vital to the battle against the orcs in Five Armies. <br><br>The Nazgul theme also makes sense as its first appearance is in Fellowship's opening, playing over Sauron's army of orcs, then Sauron himself. So it's linked both to Sauron himself and his servants, which includes Azog. Plus the version that plays in the film is the exact same variant (and lyrics) that plays in the Fellowship prologue. It serves almost as a precursor to the Nazgul. Plus I don't see why themes can't have several meanings anyway.  <br><br>Plus I love most of the new themes of AUJ (before they were abandoned in later films).Not really a fair comparison, Hybrid, since videogames as a medium are much younger than films, and their scores weren't using real orchestras right until... mid 90's, would be my guess (feel free to correct me, guys).<br><br>The all time best film score for me would be a battle between The Last Samurai and Lion King. If "movie" includes TV shows, then it's Game of Thrones without a doubt, but I'm not gonna have this argument again ;)<br><br>Btw. I wouldn't mention Hobbit in the same sentence with LotR, even music-wise. A couple of great cues cannot hide the fact that Shore's heart wasn't in it.IS * lion kingBest film score of all time in lion king. Without any doubt. ;-)
Can I just add, the album presentation for MW2 is really lame? It's a big, dare I say "epic" score in the 1990s Media Ventures mold. I think it's really solid. There are lots of different ideas from the first mission to the last, and a lot of them are written in the power anthem style that Hans ans co. don't really use much these days. Even Opening Titles is a throwback for Hans himself. <br><br>Unfortunately, almost none of the music as heard through the game is here. Instead, we got a bunch of shortened theme suites. :P<br><br>But the Gulag mission, the oil rig stuff, The Enemy of My Enemy, and lots of other missions all have pretty engaging and powerful music. I wish the RCP guys would do scores like this one more.Lord of the Rings (and even The Hobbit), are the only film scores that I'm buying an entire book for, just to fully understand the themes and motifs.Every time I revisit this score the first cue I automatically go back to is “This Isn’t Right”. Something about RGW’s string writing always stuck with me, even if he isn’t the most memorable when it comes to themes.<br><br>As for this score itself, I feel like it might have become a classic had it not been paired with such a shitty film. It’s funny, the score sounds less like Hans’ style to me and more like James Horner’s. Granted he only wrote one cue apparently...But the best film score of all time is Lord of the Rings... :>Guys... Video Game music didn't start in 2008... lol<br><br><br>Your little game is actually impossible... It's pretty much like trying find "what is the best film score of all time"...
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Henry JackmanMatthew MargesonGavin GreenawayStephen Coleman
ComposerAdditional ArrangementsConductorOrchestrator
Kick-Ass (Complete Score)
Label: Unofficial Release
Length: 100'34
HZimmer.com 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 (2340 votes)
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  1. Also Sprach Kick-Ass (1:31)
    Henry Jackman
  2. Stand Up (3:27)
    The Prodigy, Marius De Vries
  3. Leaving The Comic Store (0:46)
    Marius De Vries
  4. Watching (1:08)
    Henry Jackman
  5. Man In The Mirror (1:09)
    Henry Jackman
  6. Shooting Mindy (0:46)
    Marius De Vries
  7. Roof Jump (1:50)
    Marius De Vries, Ilan Eshkeri
  8. Time To Engage (0:31)
    Henry Jackman
  9. Stabbing, Morphine (2:05)
    The Prodigy, Marius De Vries
  10. I'm Kick-Ass (1:18)
    Henry Jackman
  11. Famous (2:25)
    Henry Jackman, John Murphy, Marius De Vries, Ilan Eshkeri
  12. Coffee With Katie (0:44)
    Marius De Vries
  13. Walk To Rasul's (1:06)
    Danny Elfman
  14. Rasul's Confrontation (2:46)
    Marius De Vries, Ilan Eshkeri
  15. Big Daddy Shoots (0:12)
    Marius De Vries
  16. Leaving Rasul's (0:50)
    John Murphy
  17. I'm Hit Girl, That's Big Daddy - Kick-Ass Cries - Sal's Phone (2:34)
    Henry Jackman, John Murphy, Marius De Vries, Ilan Eshkeri
  18. Giant Cock (0:51)
    John Murphy
  19. Big Daddy Leaves (0:17)
    John Murphy
  20. Marcus Enters (1:09)
    Henry Jackman, John Murphy
  21. A Graphic History (1:38)
    Henry Jackman, John Murphy
  22. Miss You Both (1:52)
    John Murphy, Ilan Eshkeri
  23. Hunting Kick-Ass (1:12)
    Henry Jackman
  24. Killing Kick-Ass (0:51)
    Henry Jackman
  25. Mistmobile (1:42)
    Henry Jackman
  26. Frank & Joe In Car (1:01)
    John Murphy
  27. Frank's Warehouse (2:34)
    John Murphy
  28. In The Warehouse (2:59)
    John Murphy
  29. Pull His Guts Out (0:30)
    Henry Jackman
  30. Warning Big Daddy - Cemetery (1:48)
    Henry Jackman, Marius De Vries
  31. Bedroom Love Theme (2:05)
    Marius De Vries
  32. To Brooklyn Bridge (1:46)
    Marius De Vries
  33. Drive To The Safehouse (2:26)
    Henry Jackman
  34. Safehouse Ambush (1:15)
    John Murphy
  35. Big Daddy Kidnapped (0:59)
    John Murphy
  36. Countdown (1:18)
    John Murphy
  37. Showtime (1:19)
    John Murphy
  38. Interrupted Broadcast (0:23)
    John Murphy
  39. Lights Out (2:12)
    John Murphy
  40. Nightvision (0:52)
    John Murphy
  41. Strobe (1:54)
    John Murphy
  42. Show's Over Motherfuckers (0:34)
    Henry Jackman, John Murphy
  43. Big Daddy Dies (1:37)
    Henry Jackman, John Murphy
  44. Back To Headquarters (1:10)
    John Murphy
  45. Marshmallows (2:51)
    John Murphy, Ilan Eshkeri
  46. Five Minutes (0:41)
    Marius De Vries
  47. Kick-Ass Picks Up Jetpack - Elevator (1:19)
    Henry Jackman
  48. Empty Corridor (0:54)
    John Murphy
  49. Kitchen Stand Off (2:38)
    John Murphy, Ilan Eshkeri
  50. Frank Fight (3:14)
    Henry Jackman, John Murphy, Marius De Vries, Ilan Eshkeri, Matthew Margeson
  51. Flying (1:51)
    Henry Jackman, John Murphy
  52. Conversation On Roof (1:00)
    Henry Jackman
  53. Leaving The Comic Store (Alternate) (1:05)
    Marius De Vries
  54. Leaving Rasul's (Alternate) (1:18)
    John Murphy
  55. I'm Hit Girl, That's Big Daddy - Kick-Ass Cries - Sal's Phone (Alternate) (2:42)
    Henry Jackman, John Murphy, Marius De Vries, Ilan Eshkeri
  56. In The Warehouse (Alternate) (2:52)
    John Murphy
  57. Drive To The Safehouse - Safehouse Ambush (Alternate) (2:47)
    Henry Jackman, John Murphy
  58. Lights Out (Alternate) (2:25)
    John Murphy
  59. Nightvision (Alternate) (1:25)
    John Murphy
  60. Strobe (Alternate) (2:04)
    John Murphy
  61. Back To Headquarters (Alternate) (1:42)
    John Murphy
  62. Marshmallows (Alternate) (1:14)
    John Murphy
  63. Empty Corridor (Alternate) (1:17)
    John Murphy
  64. Kitchen Stand Off (Alternate) (1:21)
    John Murphy, Ilan Eshkeri
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Anonymous reply Replies: 1 || 2017-02-25 08:44:52
Why 4 composer for one score?


Edmund Meinerts2017-02-25 19:12:59
I don't remember the exact circumstances, Hybrid explained it once...basically there was a revolving door of composers on this one, with Jackman I think being the final guy wrapping everything up. But instead of rejecting the previous scores they decided to work what had already been written into the final score. And apparently a lot of previous John Murphy music was on the temp track (28 Days Later etc), and they decided to get Murphy to come in and rework those pieces himself. It was all a bit of a mess and I'm sure Hybrid knows the story better than me.

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Kick-Ass (Complete Score) soundtrack - Henry Jackman 2010