Below are more soundtrack reviews of recent and archival releases.

Batman v Superman: Dawn of Justice (Hans Zimmer and Junkie XL, 2016)

The music for Batman and Superman contains a wide and impressive legacy. In 1978, John Williams struck gold with the caped crusader. Likewise, Danny Elfman and Shirley Walker made memorable contributions for the 1989 version of Batman and the animated series. Even though Hans Zimmer provided music for these superheroes with The Dark Knight trilogy and Man of Steel, I found the results ineffective. So does his collaboration with Junkie XL, the man behind 2015’s awe-inspiring Mad Max: Fury Road yield something fresh?

What follows in Batman v Superman: Dawn of Justice seems promising at first. Indeed, there’s subtlety flowing through “The Red Capes Are Coming.” I particularly enjoyed the nice violin flourish near the end. However, the first sign of anarchy (not to mention dropouts) occurs in “Must There Be a Superman?” Quite frankly, this piece fizzles, crackles and cuts short any melodic ideas. Also, some overwrought noisemaking plagues “Do You Bleed?” Lastly, distortion works against Zimmer and Junkie XL as the fourteen minute long “Men are Still Good (The Batman Suite)” troubles our eardrums to breathless extremes.

Because I enjoy soundtracks such as K2, Crimson Tide, The Peacemaker and The Last Samurai, it's curious to note Zimmer’s misplaced craftsmanship.

The Curse of the Werewolf (Benjamin Frankel, 1961) ***

Suitably dramatic, Benjamin Frankel’s Curse of the Werewolf proves to be one exciting score. From “Prelude” to “Finale,” the creative fireworks expand and deepen. Notably, Frankel’s approach to atmosphere remains fascinating. Treats include the gentler side of “The Beggar” compared to heavier textures in “Final Transformation.”

Regarding the soundtrack’s history, composer Carl Davis conducted the Royal Liverpool Philharmonic Orchestra in 2005. This re-recording allows contemporary listeners to experience a short, monster movie funhouse.

The Hallow (James Gosling, 2015) ****

There are infinite degrees of mystery to be found in horror. Indeed, James Gosling’s The Hallow holds that in common with Charles Bernstein’s Cujo, a masterpiece of the genre in my opinion. While the title track indicates communal enlightenment, don’t expect all green fields and sunshine. “Investigation” soon puts a stop to that, carrying genuine tension. Meanwhile, aggressive dissonance takes root as the forest gains the musical foothold. You will hear fat, sustained chords conjuring a mood of dark magic.

Opening the door further into darkness, “Race Against Time” goes up-tempo, establishing a crystal clear rhythm. Also, the urgency feels rather crazy around 0:40.

Forming the most sophisticated construction, “Fleeing Creatures” packs twisted and abrasive figures into one angry pouch. Overall, the thematic highway seems unconventional, yet fascinating in the extreme.

King Kong Lives (John Scott, 1986) *

Although I applaud composer John Scott for working with orchestras, his flighty approach throughout King Kong Lives doesn’t cut the mustard. It could be my bias toward Max Steiner’s King Kong. However, Scott’s grand design might better suit an adaptation of Leo Tolstoy’s Anna Karenina.

There are strong echoes of Gustav Holst’s “Mars: The Bringer of War” during the tepid “Kong’s Final Battle.” Meanwhile, the trumpet overture from “Chaos in a Small Town” gives the impression of an American cavalry charge rather than a ginormous rampaging ape.

The Monster That Challenged the World (Heinz Roemheld, 1957) **

Some of the scores published by fun record label Monstrous Movie Music can be hidden gems. For instance, I loved their faithful re-recording of Bronislau Kaper’s Them! However, my enthusiasm waned when listening to The Monster That Challenged the World. This 1957 effort from Heinz Roemheld features heavy instrument bashing. The number of times I felt that Roemheld pushed too hard could cover a decent size novel. Despite an elegant love theme, The Monster That Challenged the World relies on clichés.

Prince of Foxes (Alfred Newman, 1949) ***

Regarding Alfred Newman’s work, my transition from mild indifference to sheer reverence hasn't taken very long. In Prince of Foxes, “The Chapel” feels serene, while “The Fortress” carries a weight of significance that precedes Miklos Rozsa’s Ben-Hur and Basil Poledouris’ Flesh+Blood.

Adding to which, “The Painting” conveys light heroism with suspenseful timbres at 1:00. So far, all signs indicate a four-star effort, especially in light of the rousing “Prelude.” However, the first half holds up stronger than the second. Annoyingly, melodrama replaces passion as crackly distortion can be heard during the latter stages.

The Red House (Miklos Rozsa, 1947) ****

Tumultuous, exotic, mysterious, chilly, fortissimo and laid-back – these words highlight the specific qualities behind Miklos Rozsa’s The Red House. Of any age, it’s an ideal score moving between spaces simultaneously subtle and grandiose. Are these tonal shifts abrupt? No because Rozsa times each movement perfectly. Next to Bernard Herrmann, he was an original voice whose modern equivalent remains to be heard.

Tombstone (Bruce Broughton, 1993) **

As a movie, I definitely prefer Tombstone to Wyatt Earp. Strangely, when assessing the music in both pictures, my predilection falls toward the latter. By no means does Bruce Broughton compose a terrible score for Tombstone. Commendably, he tracks the animosity between the Earp Brothers and cowboys with some gusto.

I guess the main issue on Tombstone must be Broughton’s prior musical identity for Silverado. As a western, the latter made me appreciate the beautiful landscape, light and colourful characters. Over the years, my appreciation for Silverado has matured. As for Tombstone, the sun has yet to rise.

Wolfen (Craig Safan, 1981) ****

I can’t help but think if the 1981 adaptation of Whitley Strieber’s Wolfen had featured Craig Safan’s original contribution it would be spellbinding. As such, the sub-genre of rejected film scores continues to fascinate. Despite the oppressive mood of Safan’s work here -- please don’t expect anything resembling The Last Starfighter -- there’s the same aleatoric heft behind Wolfen as Alex North’s Dragonslayer.

For openers, “Main Title and First Killings” offers nearly a whole reel (ten minutes) in which Safan establishes a scary tone. Sadly, a major flaw arises in “Whittington Gets Snuffed” because Safan draws unnecessary attention to the grinding machinery.

In summary, I define aleatoric soundtracks like Wolfen as imaginative portfolios. Because photographers stress the importance of the decisive moment, what this means musically can vary from one subject to the next. Therefore you can always count upon aleatoric music to surprise you.

SCORE OF THE MOMENT

Zulu Dawn (Elmer Bernstein, 1979) *****

Worthy of mention alongside John Barry’s Zulu, Elmer Bernstein’s no-holds-barred prequel score Zulu Dawn sounds amazing. In particular, the Royal Philharmonic Orchestra generates acres of suspense and excitement. A strong start, there’s sixty seconds of serenity in “Morning” prior to the bombastic fury of “The Chase.” With dynamic contrast firmly established, Bernstein unveils some of his greatest action music. Special highlights include “Zulus” and “More Zulus.”

Now for a brief poem:

British colonialism versus native spear

Great in number, the Zulus have no fear.

Music by Elmer Bernstein works in tune

Capturing white hot ruin.

As Men of Harlech ties the knot

There are many themes to stir the pot.

A match for John Barry on every plane

This artistic endeavour bears invisible strain.

Among scores cohesive and taut

Consider Zulu Dawn as good as bought.