The Borgified Corpse wrote:
Still curious as to if Clint Mansell will be doing the score or if he has left, since he is a frequent collaborator with Aronofsky.
I think it might end up with Marco Beltrami, who worked with James Mangold on "3:10 to Yuma" or John Powell (his "The Last Stand" score was awesome).
Personally I would go with Harry Gregson-Williams. His ORIGINS score is one of my favorite all time scores, especially "Logan through time" is a must-listen!
Personally, my favorite X-score is Henry Jackman's work on X-Men: First Class.
His Magneto theme is no end of badass!
It's hard to pick my favorite X-Men
score. I think, in a lot of ways, even though the series has changed composers with every film, the series' musical identity has evolved and grown with each film.
Michael Kamen's work for the first movie feels very significant and important; I think it's influenced the scores for the rest of the series. It's also interestingly different and unique at the same time. It doesn't feel like your typical superhero score, and to be honest, it reminds me of the score for Blade Runner
in some cases. The motif used for Logan and Rogue, for example, is absolutely beautiful. It's a great, poignant, and underrated score.
John Ottman's score for X2
feels more militaristic and more like a traditional superhero score, with a bombastic main theme and some vibrant, energetic action cues. In a lot of ways, it feels like a gradual evolution from Kamen's softer and more intimate score. It's bigger, grander and more epic. It's more robust. Since X2
is my favorite X-Men film, I tend to lean toward Ottman's score as my favorite of the series, but my opinion varies frequently.
John Powell's score for X-Men: The Last Stand
is the best thing about that movie. Powell took the slightly bombastic and superheroic nature of Ottman's score and took it to incredible heights. Powell's score is probably the most superheroic of the series (at least of the original three films), with some really incredible tracks that highlight the epic and grandiose nature of the X-Men. Powell's finest contribution to the X-Men musical lexicon, though, is his theme for Dark Phoenix. Even though I have problems with the actual characterization of the Dark Phoenix in the film, the theme that Powell gave her is majestic, powerful, intimidating, and soaring all at once; it perfectly describes the Dark Phoenix character. "Phoenix Rises" is undoubtedly the best track of the album, and the choir and rising crescendo elevates what in the movie is a good but not great scene.
Henry Jackman's work for X-Men: First Class
seems like it borrows more from Powell or Ottman than it does Kamen, but it's still a great score. Matthew Vaughn's movie is probably the most superhero-esque of all the X-Men films, and Jackman imbues the movie with a bright, energetic, and even at times optimistic essence. In some ways, it betrays the dark and foreboding nature of the X-Men (at least from the earlier movies), but Jackman's best contribution to the score (as elucidated by The Borgified Corpse
) is his theme for Magneto. Ottman gave Magneto a theme in X2
, but it was more fitting of that character in the film: it was elegant, deadly but esteemed, with a choir that gave Magneto a lot of presence. In First Class
, Jackman's Magneto theme is far more badass and representative of that character's portrayal in the film. He hasn't reached the leader status in Singer's films, and in Vaughn's universe, this Magneto is far more lethal and dangerous. In that sense, Jackman's theme is very fitting, and also highly enjoyable. The best track of the album, besides "Magneto", is "Sub Lift", in which Jackman captures the soaring, superheroic nature of the film and combines that with the synthetic, dark nature of the character (and the series in general... at least Singer's first two films). In a lot of ways, Jackman's score is the perfect evolution for the series: Kamen started out with a very personal and emotional score, Ottman took that and made the musical sound much more militaristic and bombastic, and Powell took that to an even higher level with a decidedly more superhero sound. With Jackman's score, he takes it even further, and gives the series its most superhero sounding score yet.