Composed by: Bear McCreary
The sequel to the second American remake went through several delays, but finally hit theatres in May of 2019. I find it more enjoyable than the first film, but it’s propped up solely by the spectacle of seeing classic Godzilla foes rendered by a Hollywood budget (Rodan’s attack scene is an incredible highlight). Unfortunately the human characters are once again a weak point. They’re not as dull as the 2014 film’s cast, but many of them are entrapped in an overwrought family drama. Also, in the attempt to respond to the complaints that the 2014 entry kept cutting away from the monsters before the action picked up, the director over-compensated with outrageous battles that while fun often fail to convey the monster’s immensity. Overall, it’s a film that would be mediocre at best if made on the typical Japanese budget.
Alexander Desplat and his motifs did not return. Director Michael Dougherty instead used the talents of Bear McCreary. McCreary has primarily made his mark on television but has done quite a bit of films as well. McCreary gets away from the dissonant density and simple motifs of Desplat, which makes sense. While Desplat was supposed to score the giant monsters as natural disasters, McCreary is supposed to represent them as revived gods. This means a lot of choral chants and tribal percussion. McCreary also leans into the fan service by bringing back a couple classic themes. The question is, which American composer did it better? Continue reading