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Danny Elfman, Burt Bacharach, Pete Anthony, Hollywood Studio Symphony, B.J. Thomas - Spider-Man 2 Original Motion Picture Score

Please note that the below review is the views of the authors, and authors only. You can get a complete list of all Danny Elfman, Burt Bacharach, Pete Anthony, Hollywood Studio Symphony, B.J. Thomas reviews here, or go back to the Danny Elfman, Burt Bacharach, Pete Anthony, Hollywood Studio Symphony, B.J. Thomas tabs.

     

Danny Elfman, Burt Bacharach, Pete Anthony, Hollywood Studio Symphony, B.J. Thomas - Spider-Man 2 Original Motion Picture Score
Danny Elfman, Burt Bacharach, Pete Anthony, Hollywood Studio Symphony, B.J. Thomas Band: Danny Elfman, Burt Bacharach, Pete Anthony, Hollywood Studio Symphony, B.J. Thomas
Title: Spider-Man 2 Original Motion Picture Score
Rating:
Release Date: 27 July, 2004
Media: Audio CD

Tracks: 1: Spider-Man 2 Main Title 2: M.J.'s New Life/Spidus Interruptus 3: Doc Ock Is Born 4: Angry Arms/Rebuilding 5: A Phone Call/The Wrong Kiss/Peter's Birthday 6: The Bank/Saving May 7: The Mugging/Peter's Turmoil 8: Doc Ock's Machine 9: He's Back! 10: Train/Appreciation 11: Aunt May Packs 12: Armageddon/A Really Big Web! 13: The Goblin Returns 14: At Long Last, Love 15: Raindrops Keep Fallin' On My Head- Performed by B. J. Thomas

Editoral Review
But while Raimi and star Toby McGuire help emotionally ground the film, its stunning CGI effects -- and this robust, aggressive orchestral score by Danny Elfman -- insure we never forget this is no mere soap opera. What's a woebegone wall-crawler to do? Arachnid-powered superteen Peter Parker's all-too-human foibles are never far from the heart of director Sam Raimi's second installment of the Spider-Man saga, giving it an emotional resonance that sets it smartly apart from its summer blockbuster competition. The composer returns with a vengeance to the larger-than-life, crowd-pleasing sensibility of his acclaimed work on Batman and its sequel, though he occasionally seasons it with sparing dashes of the post-modern flirtations of his Hulk score. Elfman conjures his formula masterfully, bookending a suitably moody, rhythmically anxious new theme for Dr. Octopus with a brassy reprise of villainy-past on "The Goblin Returns. " Though leavened by more emotionally bright passages, it's a score largely dominated by the dark, brooding comic book melodramatics that are the favorite of so many Elfman acolytes. --Jerry McCulley

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