Hans Zimmer's score for Edward Zwick's samurai epic The Last Samurai mixes his own densely composed style with Japanese instruments and melodies, resulting in a brooding, atmospheric collection of music. Shakuhachi and other flutes, koto, and taiko drums make their presence known throughout the score, most effectively on compositions like "A Way of Life," which begins as a reflective duet for flute and strings before swelling into an ominous but majestic melody. "Spectres in the Fog" is another compelling mix of beauty and violence, starting with a delicate koto melody and rolling drums before crashing percussion and sawing strings turn the mood from bittersweet to battle-ready…
No matter the lack of critical popular acclaim for director Akiva Goldsman's adaptation of Mark Helprin's novel Winter's Tale, the Hans Zimmer/ Rupert Gregson-Williams score is utterly worthy of the film, and also the novel itself. Full of classical and electronic textures, ambiences, and melodies that wed both the lyric themes of 19th century folk and classical music to the early 20th, these 14 cues are, by turns, delicate and dramatic, melancholy and romantic, spare and elegant. As a piece of music it stands on its own. The final track here is singer/songwriter K.T. Tunstall's "Miracle," written with A.R. Rahman specifically for the film. While it is dramatically different from the rest of the score, since it is the final track, it sums up the transcendent nature of the narrative.
Hans Zimmer's melancholy yet romantic The House of the Spirits captures the magic realism of Isabel Allende's source novel with a clarity absent from the accompanying film adaptation. Accenting his brooding synthesizers and ghostly strings with elements of South American music, the composer brings to life the tragic downfall of an aristocratic Chilean family with uncommonly poignant precision. Zimmer confronts head-on the human suffering at the heart of the film, and at times his richly textured themes seem to marinate in sadness. He never stoops to heart-tugging pathos or histrionics, however, instead instilling The House of the Spirits with a dignity perfectly matched to its characters.
Although Hans Zimmer receives nominal credit, Tears of the Sun is in fact a collaborative effort featuring contributions from the composer's Media Ventures colleagues including Lebo M., Steve Jablonsky, and Heitor Pereira - the end result channels some unexpected ethnic influences into an otherwise by the book war film score reliant more on its emotional scope than its action themes. While African percussion and chants enliven several cues, Tears of the Sun is above all dominated by a palpable sense of melancholy - little here echoes the heroic, larger than life scale of war scores past, and all vestiges of patriotism are superseded by post-9/11 angst. It's certainly unexpected, especially given Zimmer's affection for bombast, but it works.
Two-time Academy Award winner Ron Howard (A Beautiful Mind, Frost/Nixon), produced the epic action drama Rush (2013), a spectacular big-screen re-creation of the merciless 1970s rivalry between Formula 1 racers James Hunt and Niki Lauda. The Rush soundtrack features a musical score composed by Hans Zimmer, plus five classic Rock songs by Dave Edmunds, Steve Winwood, Mud, Thin Lizzy, and David Bowie.
Pacific Heights contrasts some of Hans Zimmer's most kinetic and visceral thriller themes against moody, atmospheric jazz cues that further underscore the menace lurking around every melodic turn. Zimmer's signature synthetic percussion is exploited to unusually positive effect here, paired with a far-ranging palette of sounds and samples that both enhance or shatter the mood, dependent on what the situation requires. But what sets the score further apart is the composer's acute grasp of mood and texture - Zimmer is rarely a model of subtlety, but Pacific Heights embraces tension over theatrics, and the end result proves one of his finest efforts.
Academy Award-winning composer Hans Zimmer has created a blood-pumping dramatic score for Hannibal that pulses with Wagnerian intensity. Sir Anthony Hopkins's monologue on three tracks adds a dimension of hair-raising eeriness to the already deeply affecting and suspenseful instrumental backing. (Just hearing him first enunciate on the opener "Dear Clarice" sets up the Pavlovian sense of dread.) Hopkins's Hannibal Lecter is still on the prowl 7 years after FBI agent Clarice Starling first interviewed the criminally insane doctor (and 10 years since The Silence of the Lambs hit the theaters). This sense of uneasiness is captured alternately by deep, sustained notes and the rapid attack of a full-throttle orchestra…
The Blade Runner 2049 soundtrack, which features new music from Hans Zimmer and Benjamin Wallfisch, be released October 5th via Alcon Sleeping Giant Records, Pitchfork reports. Along with Zimmer and Wallfisch's score, the soundtrack will feature an original song from singer Lauren Daigle, "Almost Human." A handful of classic songs from Frank Sinatra and Elvis Presley will also appear on the record, including the former's "Summer Wind" and the latter's "Suspicious Minds."