Composed by Hans Zimmer
Daniel Craig’s tenure as James Bond came to a close with No Time To Die. The film was supposed to come out two years ago, but thanks to the lockdowns and restrictions it has taken two years to finally see the light of day. Ironically the movie concerns a manufactured virus, albeit a much deadlier one that can be designed to target certain genetics. Was the wait worth it? Well, not really. Like its predecessor, Spectre, it starts off strong and gradually flounders under the weight of current movie franchise trends and clichés. Bond is caught up in weepy melodrama, most of the action is pedestrian, and we once again have to endure uncovered secret pasts about established characters. The movie also relies on audiences watching Craig’s entire run instead of just offering a self-contained thrill ride. Hopefully with Craig’s departure we can finally start getting more standalone Bond films. Hans Zimmer came on board for music and thanks to a heavily delayed release had two extra years to fine tune his score, so perhaps he would succeed on his front.
The song this time around is Billie Eilish’s “No Time to Die” (placed at the end of the album). It’s got the right tone and even hints of the James Bond theme, but Eilish sings like she’s drowsy so a lot of the lyrics are very hard to distinguish. It also lacks a particularly strong melody. After the last two films the composer finally has a chance to incorporate it into the score. However, thanks to the aforementioned lack of strong melody, Zimmer’s incorporation of it is piecemeal and often not very distinguishable despite adding further emotional punch to moments such as the end of “Matera,” the middle of “Lovely to See You Again,” and pieces of “Home” and “Final Ascent.” To be fair to the composer he had no hand in crafting the song and thus did not ensure that he had a more identifiable theme to work with. In terms of other new themes the only one I could really pick out was a motif for the new villain Lyutsifer Safin (Rami Malek). It’s too simple to really make a strong impression and is more of an ambient soundscape as heard in the opening act of “What Have You Done” and “Lovely to See You Again.” Continue reading