Alien vs. Predator: Requiem (2007)

Composed by Brian Tyler

Although it was hardly well-regarded, the action-horror cross-over Alien vs. Predator still made enough money to garner a sequel. The first film is passable entertainment but Requiem suffers from the fact that most of the action takes place in a dark, rainy environment, making it difficult to see the new alien and predator designs. The characters are wafer-thin and there’s a certain maternity ward scene that was just a little too much for me. The film itself bombed. Not a failure is Brian Tyler’s score, all of which can be found on the soundtrack album. This is from around the time that Brian Tyler started getting the opportunity to create big action scores. The actual album presentation is horrendous, but I will talk about that later. First the actual music.

Tyler does a good job of using the style of the Alien and Predator soundtracks, especially the former, though he or somebody in charge decided that none of the franchises’ preexisting themes would be used. One of Horner’s motifs from Aliens does appear, but not much. One cue in which it materializes is “Coprocloakia”. A variation on the Predator theme plays in “Predator Arrival” and “Power Struggle”, with the percussive elements remaining, but the core theme replaced by a variation of Tyler’s Requiem theme. A couple tracks, “National Guard pt. 1” and “Taking Sides,” (the latter a quite good 13-minute piece) use a motif heavily reminiscent of Ripley’s theme from Alien Resurrection. The latter half of “Buddy’s New Buddy” has a call-back to Elliot Goldenthal’s dissonant strings from Alien 3’s “Candles in the Wind.” These are nice references, but it is frustrating that Tyler wouldn’t or was not allowed to actually make the franchise themes clash. At least he finds a way to reference them whereas Harald Kloser ignored them completely for the first AVP.

Batman & Robin (1997)

Composed by Elliot Goldenthal

Batman & Robin is one of the most infamous superhero movies of all time. After Tim Burton had brought Batman’s darker side to the big screen, the resulting film series fell back into the camp of the 60s (though there were still Gothic flourishes). One reason is that by this point Warner Brothers and toy company Hasbro demanded that the films be designed to appeal more to kids and sell action figures. Batman Forever showed some flaws in this direction, but the 1997 follow-up took things a whole other step. Forced to scrunch in tons of vehicles, gadgets, and characters for the toy line, Joel Schumacher, an otherwise good director, created a reviled film. In addition to the overabundance of puns and general goofiness, four characters are squished together incongruously. After getting Robin the previous movie, Batman (now played poorly by George Clooney) also acquires Batgirl (Alicia Silverstone). This time she’s Alfred’s rather than Commissioner Gordon’s niece in an attempt to somewhat tighten the plot threads. Then there’s the trio of villains. Warner Brothers or someone demanded that three of the most popular villains of the 90s be put together despite the fact that they all deserve their own movie and don’t gel well together. They include Mr. Freeze (Arnold Schwarzenegger), Poison Ivy (Uma Thurman), and Bane (Jeep Swenson). This is a soundtrack review so I’ll spread my criticisms of their use throughout relevant tracks. I’ll just say the central plot is that Batman and Robin are having trouble working together, especially when Poison Ivy and her seduction powers are thrown into the mix. The main threat is Mr. Freeze, who wants to save his cryogenically frozen wife but eventually decides to freeze Gotham City. Overall it’s a terrible film, but many have warmed up to it as a so-bad-it’s-good romp, myself included. Elliot Goldenthal’s score was also caught up in the mess.

Goldenthal’s work on Batman Forever has had a mixed response, with myself being on the positive side. It featured an interesting, interlocking web of themes and motifs and had grand Wagnerian fare and dark romanticism in between demented dance music. Strangely for one of the more unique and creative minds in the film music community, his follow-up for Batman & Robin was highly derivative of his first Bat-score as well as a couple of his earlier works. There was still new material, but the score album was cancelled following the film’s bad reception. When I was a kid I got a CD from the library expecting superhero music (though I hadn’t seen the film yet) and instead got a songs from and inspired by album which now has ironic nostalgia for me. This review is about the score so let’s get into it.