My Top Ten Favourite Soundtracks

I'm a sucker for a good soundtrack, especially film ones. The instrumental pieces; whether they're in an action film, a romantic comedy, or just a plain comedy, all give me goosebumps. I thought it was about time I pinned down my favourite ten film's soundtracks and why, and you never know, they might just grow on you too.

10. The Lion King (1994)

'I'm gonna be a mighty king, so enemies beware', oh yes, my favourite Disney film of all time, although I won't argue Pocahontas (1995) and Aladdin (1992) came close. This film is one that has been with me since childhood and through my teenage years became the soundtrack that everyone knew. With wondrous songs such as Can You Feel the Love Tonight and Circle of Life you have to give Elton John some credit for producing some incredibly gripping songs that won't be forgotten by the younger generation, not to mention Hans Zimmer's genius, who will be someone I bring up a lot in this countdown. I actually remember trying to but this in a French supermarket when I was little, however my mum was not convinced. This is my favourite song from the bunch, Under the Stars:



9. Bridget Jones: The Edge of Reason (2004)

This is one for all the women out there who sat down like I did, single and lonely, with a box of tissues and some chocolate to watch the lives we wished for unravel on our TVs. This sequel to the successful Bridget Jones's Diary (2001) has numerous famous artists on the soundtrack, from The Darkness, Kylie Minogue, and Will Young, to Jamelia and Jamie Cullum. It's upbeat in all the right places, and damn right depressing in the other parts. Nevertheless, it's the ideal romantic comedy for the girls, and if you feel like singing your heart out then there's no harm in Jamelia's Stop. Being a soppy git, that is not my favourite, and instead I have chosen I Eat Dinner by Dido and Rufus Wainwright, a delightful combination that really pulls your heart strings:




8.Scott Pilgrim vs. the World (2010)

Due for release on DVD on 27th December, this film is one of my favourites this year and it had a rocking soundtrack. A few of the cover tracks on the album are from the film's band Sex Bob-omb, among which I think Garbage Truck is my favourite. There are several other artists, including Beck, Crash and the Boys, and The Rolling Stones. This retro geek-chic film definitely takes pride in its soundtrack, it's not one I listen to all the time but is more of a 'going for a drive' album for me. It's got some funny ones from the battle of the bands part of the film, in particular I'm So Sad, So Very, Very, Sad but the one I think you can rock out to is this one, We Are Sex Bob-omb:



7. Avatar (2009)

I don't think a lot of people will understand why I like this one, but if you like the soundtrack of Jamanji (1995), Titanic (1997), The Perfect Storm (2000) or The Karate Kid (2010) then you have composer James Horner to thank. All the tracks for Avatar are instrumental, some with a small chorus using the Na'vi language as a chant, and the reason I like them are the same reason I love Hans Zimmer. These songs give me goosebumps, they give the right atmosphere, and they always build up to an amazing climax. The use of strings and drums genuinely takes you head on into this adventure, right from the moment Jake enters the Avatar world, through the moments it is under destruction until the very end. Some songs are very long on the album, but the best instrumental pieces are. You can really hear some similarities to the Titanic soundtrack in some of the songs, but this soundtrack makes you feel like you are in an entirely different world. It's magical, and I love the world of fantasy. A whole seven minutes and forty seconds long, Becoming One of the People - Becoming One with Neytiri is the most breathtaking.



6. Shrek 2 (2004)

Ok, I'm getting excited now. I love ALL of the songs from this film, they're catchy, they're fast and I could sing to them all day long. From the beginning of the film, Counting Crow's made me fall Accidentally in Love while Lipps Inc. took me to Funkytown. This soundtrack is fun, there's no other way to describe it, it fits this animation perfectly and makes Shrek 2 that classic that anyone can enjoy. I also like Shrek's soundtrack, but Shrek 2 stood out to me when it took me on that chaotic journey. There are a couple of more contemplative songs, such as People Ain't No Good and I Need Some Sleep, but these are taken over by Jennifer Saunders' Holding Out for a Hero and Livin La Vida Loca by Eddie Murphy and Antonio Banderas. I adore all these songs so much, but the one that gets me every time is this, You're So True by Joseph Arthur. The lyrics are beautiful:




5. Twilight (2008)

Well, you either love it or you hate it, and sorry, but I love it. As I should only be talking about the soundtrack here I won't comment on the films, but this film has various artists which produce a mysterious atmosphere for the film, which I believe was the best way to go having read all the books. There are some more well known artists, Muse and Paramore, amongst others such as Collective Soul and Iron & Wine (great artist!) which give a sense of romance with some 'feisty' thrown in there. I enjoy Carter Burwell's Bella's Lullaby, and Robert Pattinson's Never Think as two songs which are relaxing and emotionally fulfilling. However, I also like the use of Paramore's Decode, which has some very moving lyrics. The proceeding films have not had such an effect on me, apart from Sia's My Love, a very passionate piece. So, here is my favourite, Spotlight (Twilight Mix) by Mute Math:




4. Pearl Harbor (2001)

I'm nearing the top three now, and it's getting pretty hard to actually give these soundtracks a number, because I'd put them all at number one. Pearl Harbor has been a favourite since I watched the film when I was fifteen, not only for the narrative, and the attractive men in it, but for the soundtrack too. These are all instrumental, and unless you're a fan you probably won't have noticed them in the background of the film. But this is a true tear jerker for me, the piano work is graceful, and always catches you off guard, just when you don't think you're going to get upset you probably will. There are some upbeat ones, but they mostly reflect the action going on in the film. It's tough to choose the one I prefer most as there are a couple, but the one I've had on repeat over the years is this, And Then I Kissed Him:



3. Moulin Rouge (2001)

I'm hoping this will be a favourite for most audiences, even the male ones (I know one guy that will sing it with me anyway!). It's one of the most romantic musicals you will ever see, and the soundtrack reflects that. It's sexy, intense, and almost addictive. Because We Can and Lady Marmalade will get you bopping about the place, and there is always the Elephant Love Medley or Come What May that will go down well as a karaoke duet. From the gorgeous voices of Nicole Kidman and Ewan McGregor, this film is amazing and definitely for those of you who like a good musical. I'm not ashamed to say this soundtrack is on my iPod, and as a big fan of Elton John who sang the original of my favourite, I present you with Your Song, covered by Ewan McGregor and Alessandro Safina. Watch out for the climax at 1:50 in...




2. The Lord of the Rings Trilogy (2001, 2002, 2003)

Call me a bloke, I love them. Invite me to watch all three, extended edition, and I'd happily accept the offer. From the adorable and boisterous Concerning Hobbits to mysteriousness in The White Tree and a mixture of delicateness in The Return of the King, once you have heard all the songs from the films you truly do feel like you are part of the characters. The songs convey the romance, the battles, the tensions, and the loss throughout. It gives a sense of hope and power, and amongst all the fighting it really brings out the true theme of friendship and trust. It saddens me that this trilogy had to come to an end, but I feel through the soundtrack you can relive it again and again. My dad introduced me to Enya one night on a drive home and her voice has stuck with me since, and with this, I give you the one song that I look forward to when I watch these films. Evenstar:




1. Pirates of the Caribbean: At World's End

And here we are at number one! Hopefully somewhere out there someone will agree with me that this is a fantastic soundtrack. It's playful, and I think it reflects Johnny Depp's character of Jack Sparrow perfectly. In some places it can be strange, in others just plain fascinating. Composed by in my opinion, the best, Hans Zimmer has produced a stunning soundtrack for the last part of this epic trilogy. In particular, Up Is Down is one I would definitely recommend to simply enjoy, and if you're feeling a little more serious perhaps Hoist The Colours. The one that gives me jitters is this one, One Day which gives me goosebumps at 2:38 exactly in and proves Hans Zimmer's ability to provide an outstanding build up and climax:



There you have it folks, I hope some of you agree, and if not, why not share what you think is a worthy soundtrack?

Harry Potter and the Deathly Hallows Part I

[Warning: I have revealed when the film is split at the end of Part I and mentioned some key scenes, one that is not in the book]

Hermione Granger (Emma Watson) stands behind her parents in the home she grew up in, wand poised, and whispers “Obliviate”. As she looks around, the memory charm removes her from every photo with her parents, as she emotionally and physically leaves their lives for good. Meanwhile, Ron Weasley (Rupert Grint) watches the sky with concern as his mother calls him in for dinner, and the boy who lived, Harry Potter (Daniel Radcliffe) watches the Dursley family he has lived with since he began attending Hogwarts School of Witchcraft and Wizardry leave their home in search of safety.

The sheer terror of what these three best friends must achieve now overcomes the audience in the sentimental scenes that flood this first half of the long awaited final film adaptation of J K Rowling’s popular novels. David Yates has finally appreciated the finer details within the book that were not so obvious in the previous film, Harry Potter and the Half Blood Prince (2009), which seemed to focus on the sexual tension between the main characters as it had not particularly been addressed in the five films beforehand. As the most feared and powerful wizard Lord Voldemort (Ralph Fiennes) grows stronger (yet fails to make much of an appearance in this part of the film) Hermione, Harry and Ron must leave their loved ones in search of the seven Horcruxes that contain Voldemort’s soul. Two have already been destroyed; one in Harry Potter and the Chamber of Secrets (2002), the other in the Half Blood Prince, and this film focuses on one Horcrux, a locket, which results in angry behaviour from whoever wears it for too long. Rupert Grint’s performance is emphasised here, as he wears the locket the most and becomes insanely jealous of Hermione and Harry, as his make-up shows dark circles under his eyes with pale skin he almost appears evil, and we begin to see the divide in their companionship.

The original source material is obvious throughout the film through detailed conversations and explanations, despite scenes where the trio are at a loss of what to do next, it is apparent that since Harry Potter and the Philosopher’s Stone (2001) the three main actors have come far in terms of ability to give a genuinely sentimental and distraught performance. Yates has incorporated a much darker side of the narrative; for every emotional scene a tense build up followed, with a couple of jumpy moments that probably even startled the parents in the audience. A few scenes are quite graphic in terms of violence and nudity; particularly the scene as the locket is opened, and a dark, mysterious ghost-like figure talks down to Ron about him being nothing compared to Harry. Two naked figures proceed to appear; Harry and Hermione, who passionately kiss and are lost in each other’s arms. This scene was a good adaptation from the book, but nevertheless still a bit embarrassing for the audiences who have grown up with the actors, and it appears that Yates has taken some risks with this film that he had not considered before. The soundtrack is striking and sent a shiver up my spine, as with every close up of a solitary character, and even the argument between Harry and Ron, the pianos and violins heighten the atmosphere with pauses of silence before delivering a breath-taking climax which truly does convey that this is the end of such an epic adventure.

Helena Bonham Carter gave a familiar chilling performance as Bellatrix Lestrange, and showed her true colours as an actress in the scene where she tortures Hermione, with her usual wild hair and wide eyes conveying her yearning for revenge and the death of Harry Potter. The film does not involve the other lead characters as much as you would like, but this is of course down to the book, and if you have read it then you will be enthusiastically waiting on edge for Part II in July next year. The introduction of Bill Weasley (Domhnall Gleeson) and Mundungus Fletcher (Andy Linden) has definitely been delayed and some audiences may agree that it is a shame they had not been introduced earlier in the films they should have appeared in, as it feels a little rushed to fit everything in. Despite this, the cast deliver as they should and give their all, and with such a long running time the audience really do become intimate with them. The forest locations are fantastic; the film is mainly shot in winter, reflecting the cold and sombre moods the three friends must fight through to gain strength. The first part is not all gloom, Ron has several comical moments amongst his violent outbursts, and a few crude moments allow some amusements, (“Blackthorn, ten inch, nothing special but I thought you might like it if it’s going unused”), which are thankfully not as forced as much as they were in the Half Blood Prince.

The most intriguing element of the film is its divide. There is no doubt that a lot of money will be made at the box office from splitting the film, along with all the merchandise and deals available at the cinema, however, considering that in total the film will be longer than James Cameron’s Avatar (2009), the attention to detail from scriptwriter Steve Kloves will surely be appreciated by the audience, as he has concentrated on the most important elements of J K Rowling’s exciting novel. Kloves takes the plot one step at a time; engaging the audience with the minor stories in the book, such as the story of The Tales of Beedle the Bard (written by J K Rowling also), which introduces the concept of the Deathly Hallows into the film through an abstract animation with silhouetted figures whom represent Death and the three Peverell Brothers. These three brothers each acquire an element of the Deathly Hallows, which Harry Potter must now find in the wizard world. This beautiful story broke up the chaos and was a reminder that the film is mainly targeted at a younger generation, and because there was a lot of information to take in, this carefully constructed animation gave an easier understanding for everyone, especially those who may not be familiar with the original text.

The ending scenes of Part I were appropriately chosen; they were touching, and we said goodbye to one of the most admired characters from Harry Potter and the Chamber of Secrets (2002). The voice of Dobby, done by Toby Jones, softly speaks “Such a beautiful place to be with friends” as he lies in Harry’s arms preparing to die. This is done so realistically through CGI, his eyes capturing the sadness as Alexandre Desplat really does tug at our hearts with his musical genius, giving us an harmonious farewell as Harry buries Dobby with his own hands. The visual effects of Part I are aesthetically pleasing, however a little manic, and in some action scenes the shots are lost in each other which is disappointing. Hopefully this won’t be the case in Part II, which audiences can expect to be fast paced and even more emotionally challenging.

Due Date

Todd Phillips’ shoulders must surely be weighted from the expectations of eager audiences since his successful comedy The Hangover (2009) that witnessed the road trip of three friends and their groom-to-be buddy.

Phillips has once again used the road trip narrative with the inevitable deadline from Atlanta to Los Angeles; a whole one hundred minutes of non-stop action between effeminate Ethan (Zach Galifianakis) and pessimistic Peter (Robert Downey Jr.), who have been taken off the fly list and must find a way to get to Peter’s wife Sarah (the beautiful Michelle Monaghan) who is due to give birth. This fantastic cast have been paired with an undemanding narrative, however, Galifianakis has once again become the star of the screen and taken up characteristics similar to that of Alan from The Hangover; careful attention to detail on his appearance, the “camp” walk, and childish motives that suggest that he still needs looking after.

Due Date isn’t all comedy; there are a handful of serious moments that catch the audience off-guard, as this collision of opposite personalities attempt to bond on their journey. Ethan’s carefree approach to their relationship soon brings out Robert Downey Jr.’s signature sarcasm that we witnessed in Tony Stark throughout Iron Man (2009) and its sequel, revealing the most amusing moments in the film, as creepy and childish versus explosions of anger and gradual lack of trust. These emotional moments could arguably be completely out of place when compared to Phillips’ usual style of humorous moments delivered repeatedly with a lack of affectionate instants.

The two characters attempt to connect on their mutual experiences, the lack of a father figure and father and son issues. Throughout the film we learn of Ethan’s heartache as he carries his father’s ashes around in a coffee can with the intention of spreading the ashes at the Grand Canyon, and in one sentimental scene Peter confesses the morning his father walked out on the family, to which Ethan laughs hysterically and replies, “That’s so funny! My dad would never do that. He’d love me”. The audience’s connection with either character could potentially be quite strenuous, as they prove to be so different, making it hard to relate to either man’s situation. The deadline theme coincides with the pressure Ethan feels to spread his father’s ashes to release an old life and the desperation Peter feels to get home for the birth of new life.

A few years ago Zach Galifianakis was not a well-known actor, and after watching Due Date it is curious whether everyone’s thinking the same thing – can this man take on any other role? There is no doubt his ability to be a comical figure is apparent, nevertheless his charm is beginning to diminish. Robert Downey Jr. on the other hand delivers a comical performance similar to that of his African American character Kirk Lazarus from Tropic Thunder (2008); although the unpredictable moment in Due Date when Peter spits on Sonny the French bulldog and punches a child in the stomach were almost atrocious. The father issues within the film are reflected through Peter’s anger, where at one point he says to the can in reference to Ethan “You should have strangled him at birth”. Phillips seems to have gone from one extreme to another by replacing the baby Alan is so attached to in The Hangover with Sonny the bulldog; he has gone from making a baby masturbate to a bulldog masturbating and has unconsciously begun to push the boundaries of comedy. He is risking the illustration of situations that could easily offend some older audiences who may not be as appreciative of the hilarity. Despite this, Sonny the dog does bring added absurdity to the film, he could almost be a third human character, as he is very expressive of his emotions through his eyes which is genuine throughout.

The balance is found through the cinematography, a stunning visual adventure particularly at the Grand Canyon which Ethan thought was “man-made”. This point in the film provides emphasis on the theme of self-discovery; as Galifianakis brings us to an emotional peak in the film, Phillips has even made the look of Ethan’s father’s ashes in the wind appear dramatic. The scene in which their car flips and crashes is aesthetically pleasing, as Phillips has slowed the movements right down for the audience to appreciate the facial expressions of both lead characters. Phillips’ application of comedy in Due Date initiates controversy over anticipation of The Hangover 2, due in cinemas next year. Will audiences still anticipate the sequel of one of Phillips’ more successful films after Due Date, which seems to have just bridged the gap for impatient audiences?

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