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Film Soundtracks - Released January 1, 1990 | Geffen

Distinctions The Qobuz Ideal Discography
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Film Soundtracks - Released March 29, 2019 | Walt Disney Records

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Classical - Released March 22, 2019 | Sony Classical

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Film Soundtracks - Released June 7, 2019 | Sony Classical

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Film Soundtracks - Released October 31, 1988 | Varese Sarabande

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Film Soundtracks - Released February 17, 2015 | Fifty Shades of Grey

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Film Soundtracks - Released March 15, 2019 | WaterTower Music

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Film Soundtracks - Released October 7, 2016 | Sony Classical

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Film Soundtracks - Released December 29, 2017 | Varese Sarabande

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Film Soundtracks - Released May 27, 2016 | Walt Disney Records

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Film Soundtracks - Released March 15, 2019 | WaterTower Music

It is hard to imagine a project better suited to director Tim Burton and composer Danny Elfman than an adaptation of Roald Dahl's CHARLIE AND THE CHOCOLATE FACTORY, and both artists make good by turning in some of their finest work. As in their past collaborations, Elfman provides a dreamy, zany auditory component to Burton's surreal visual universe and--as one might expect--Elfman's score to this paragon of fantastic films is dreamier, zanier, and bursting with more ideas than nearly any score in his oeuvre. Elfman's orchestral work (epitomized in "Main Titles") is dramatic, surprising, and full of tension, evoking the spookiness, magic, and pure lyricism of the film and its themes. But the real treasures here are the five tunes Elfman composed for voice. The first song, a helium-infused, carnivalesque romp, introduces Willie Wonka. The other four are theme songs for the errant children who enter Wonka's factory. Each is done in a different style, ranging from the tribal, Oingo Boingo-like bounce of "Augustus Gloop" to the sunshiney psychedelia of "Veruca Salt," and the jittery, robotic opera of "Mike Teavee." Amazingly, these tunes equal the greatness of the songs from 1971's WILLIE WONKA AND THE CHOCOLATE FACTORY, and manage to remain both original and true to the spirit of Dahl's book, which is high praise indeed.
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Film Soundtracks - Released March 29, 2019 | Walt Disney Records

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Film Soundtracks - Released July 13, 2018 | Sony Classical

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For this Gus Van Sant movie depicting the life of John Callahan—a famous paraplegic cartoonist—Danny Elfman (Batman, Good Will Hunting, Milk) indulged in a particularly gratifying eclecticism. Rather logically, bebop pieces illustrate the improvised scenes between Joaquin Phoenix and Jonah Hill, as well as the epic wheelchair races. This aesthetic also allows to give energy to a story that is sometimes somewhat static (so to speak). And most of all, it translates the own dynamism, both atypical and deeply moving, of Callahan (Main title, The liquor store). In parallel with this jazzy energy, Danny Elfman offers quieter and orchestrally stripped-down moments, just like this beautiful piano piece called Mother’s name. In the same vein, the composer scatters on other sections many extremely smooth and warm timbers (piano, acoustic guitar, celesta, bells, ethereal voices, harp, flute, music box…) combined to highly strung writing, alternating strength, tenderness, unpredictability and slight worry. In short, this is a partition that perfectly reflects its colorful protagonist. Two songs complete this multicolored soundtrack, among which you will find a Texas when you go written and performed by John Callahan himself. It reaches heights of fragile emotion. ©Nicolas Magenham/Qobuz
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Film Soundtracks - Released February 24, 2017 | Sony Classical

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Film Soundtracks - Released January 1, 2003 | Decca Music Group Ltd.

Like nearly everything associated with Ang Lee's film adaptation of The Hulk, Danny Elfman's score for the movie feels more than a little off. In this case, Elfman tries to fuse his own quirky, often tense style with a more overtly serious, droning sound that feels more akin to the work of Hans Zimmer. The results are a collection of music that's strangely unbalanced and disappointing, especially considering how effective his score for Spider-Man was. On pieces such as "Main Titles," "Dad's Visit," and "Bruce's Memories," which focus on Elfman's elaborate arrangements and dynamics, as well as his cascading string motif for Bruce Banner/the Hulk, the score works pretty well, but the recurring ethereal vocals and fiddles that pop up throughout other parts of the score sound like they belong in another film. Likewise, cuts such as "Captured" and "Hulk's Freedom" develop a quasi-Arabian sound that is both relatively interesting and well done, but doesn't have much to do with either the rest of Elfman's score or the story of the Hulk. Other tracks, like "Hounds of Hell" and "The Lake Battle," bludgeon the listener with extreme percussion and sawing strings in hopes of (literally) drumming up some suspense. Not surprisingly, the fusion of styles that Elfman is going for works the best on some of the score's quieter pieces, such as "The Truth Revealed" and "Gentle Giant," which take to the Middle Eastern touches much more naturally. Still, much like the movie it supports, Elfman's score sounds like a botched hybrid of too many disparate elements. Similarly, "Set Me Free," which is performed by Stone Temple Pilots' Weiland, several former Guns N' Roses members (Slash, Duff McKagan, and Matt Sorum), and former Wasted Youth-er Dave Kushner, is a loud but curiously inert fusion of too many incompatible heavy metal- and hard rock-isms. Presumably, the only people interested in this soundtrack will be either people who enjoyed the movie or die-hard Elfman fans; the former already know what to expect, while the latter might wonder if Elfman -- or his music, anyway -- hasn't undergone some strange transformation. ~ Heather Phares
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Film Soundtracks - Released August 19, 2016 | Lakeshore Records

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Film Soundtracks - Released January 1, 2007 | Varese Sarabande

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Film Soundtracks - Released May 16, 2014 | Varese Sarabande

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Film Soundtracks - Released May 14, 2012 | Sony Classical

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Film Soundtracks - Released January 1, 2008 | Varese Sarabande