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█▄ ▀ █▄ ░▒▓ ... iS PRouD To PReSeNT ... ▓▒░ ▄█ ▀ ▄█
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┌────────────────────────────────────────────────────────────────────────────┐
│ │
│ Christopher Young - Runaway Jury OST │
│ │
└────────────────────────────────────────────────────────────────────────────┘
┌──[ ReLeaSe iNFo ]───────────────────┬──[ aLBuM iNFo ]──────────────────────┐
│ │ │
│ Ripper.......: TEAM SRN │ Source.......: CDDA │
│ Release Date.: 14-12-2003 │ Album Year...: 2003 │
│ Grabber......: EAC V0.9b4 Win32 │ Music Genre..: Soundtrack │
│ Encoder......: LAME V3.93.1 Win32 │ Record Label.: Varese Sarabande │
│ Bitrate......: 192kbps @ 44,1kHz │ │
│ Quality......: Full Stereo │ Internet URL.: varesesarabande.com │
│ │ │
├──[ aLBuM NoTeS ]────────────────────┴──────────────────────────────────────┤
│ │
│ Before I sat down to write this review, I went back and thought about │
│ all the great legal thrillers and courtroom dramas I've loved over the │
│ years. Almost right away, something occurred to me: very few (if any) of │
│ them have terribly memorable music. The more I thought about it, though, │
│ the more I realized that there's a good reason for this: "courtroom" │
│ movies are usually about listening to details, carefully studying │
│ evidence, and watching acclaimed actors give powerfully-written "awards │
│ clip" soliloquies -- things so inherent with drama (melodrama?) that a │
│ lot of powerful music often isn't necessary. Think of the now famous │
│ cross-examination scenes in movies like To Kill A Mockingbird, A Few │
│ Good Men or even My Cousin Vinny: They're often played with no music at │
│ all. An utter sense of reality is critical to these scenes having their │
│ strongest impact, and to layer a lot of syrupy strings over a │
│ plaintiff's testimony would be to risk making the movie laughable and │
│ overly theatrical. │
│ │
│ Christopher Young has scored legal dramas before, and he understands how │
│ to do them. He made his courtroom debut in the mid-90s with a pair of │
│ back-to-back litigious thrillers: Murder In The First (a critically │
│ praised based-on-a-true-story picture featuring the likes of Gary │
│ Oldman, Kevin Bacon, and William H. Macy) and the year before, the │
│ somewhat less respected Judicial Consent (a steamy, post Basic Instinct │
│ -era crime caper chalked full of unnecessary love scenes and starring │
│ such powerhouse sex symbols as Bonnie Bedelia and Dabney Coleman). Young │
│ is a well-qualified pro in somewhat familiar territory here. This time, │
│ he's working for director Gary Fleder (Kiss The Girls, Don't Say A │
│ Word), who's film is based on a John Grisham novel of the same name. In │
│ a startling departure from his previous work, Grisham chose to write │
│ this book about lawyers in the American south faced with corruption and │
│ moral dilemmas. │
│ │
│ Gene Hackman plays the preposterously named Rankin Fitch, a high-rollin' │
│ "jury consultant" who uses only the very finest in modern surveillance │
│ equipment, egg-head lackeys, and foreign-accented psycho thugs to │
│ pressure juries into arriving at the verdict that his employers pay him │
│ to deliver. Early in the film, he arrives in New Orleans to "consult" on │
│ a case made against a large semi-automatic weapons manufacturer, and no │
│ less than the 2nd Amendment -- the one guaranteeing each US citizen's │
│ right to bear arms -- is at stake. (Note: In Grisham's book the trial de │
│ jour is aimed at the tobacco industry instead). Hackman is pitted │
│ against honest-lawyer Dustin Hoffman, who would love to nail the │
│ manufacturer on the behalf of his client and in the process score a │
│ landmark victory in the name of making such companies take │
│ responsibility for the guns they sell. Shortly after the trial begins, │
│ our two Oscar winning actors hit a snag: Someone (well, okay, John │
│ Cusack and Rachel Weisz) has infiltrated the jury and threatens to push │
│ the verdict any way they want unless paid a certain price. The plot's in │
│ motion: Cusack can manipulate everything from the inside, Hoffman can │
│ question his ethics, and Hackman can shout trailer-friendly lines like, │
│ "Find out who stole my jury!" │
│ │
│ But back to the music. Young's assignment seems to have been to provide │
│ music that recognizes the film's southern locale, reflects the slick- │
│ and-sleazy atmosphere of today's legal system, and adds the proper │
│ amount of tension and momentum to the film's many double-crosses and set │
│ pieces. The resulting score certainly achieves all three of these │
│ things, and there's no question that Young's work enhances the movie │
│ ten-fold. He's good at playing "under" the movie; laying down nervous │
│ rhythms and scenic "punctuation" that moves everything along smoothly │
│ and appropriately. It's artful, effective music when married to the │
│ film. When isolated on a CD and separated from the story, however, │
│ Young's work loses a bit of its power. Although Varese Sarabande was │
│ generous in putting nearly an hour of the score on their release (thanks │
│ in part to recording sessions having taken place in Seattle), the music │
│ really plays best in the film: mixed in with all the dialogue and │
│ visuals. │
│ │
│ The album's cues fall under three major categories. There's the deep, │
│ somber piano-and-string writing that accompanies the film's emotional │
│ center (exemplified in the standout cue, "Who Will Hurt You?"), the fun, │
│ jazz and organ-laden music that plays as the lawyers duel and the jury │
│ is selected (see "Cheaper By The Dozen") and then the actiony double- │
│ cross / chase cues (the most ferocious of which is "Shark Tactics"). A │
│ hint of New Orleans sleaze is omnipresent in the brass writing all │
│ throughout (but is especially noteworthy in "Dumb Witnesses"). │
│ │
│ For the most part, the soundtracks for the other John Grisham │
│ adaptations are a little too unengaging to my ear, and this one follows │
│ suit. Elmer Bernstein's The Rainmaker, David Grusin's The Firm, Howard │
│ Shore's The Client: All... well, what's the right way to put this? Kinda │
│ dull. In the end, however, Young probably did this movie exactly right. │
│ Whenever legal thriller music tries to be too "in-your-face," the │
│ results are often mixed as with Danny Elfman's A Civil Action, one of │
│ the composer's less successful efforts, and David Kitay's work for the │
│ Pauly Shore vehicle Jury Duty, fitting music for what is perhaps the │
│ worst motion picture ever produced. │
│ │
│ Courtroom flicks are usually best served by somewhat neutral elements │
│ that get out of the way and allow the viewer to think about the issues │
│ at hand. Christopher Young knows this. Director Gary Fleder, │
│ unfortunately, does not. Amid the flashy cinematography and the choppy │
│ editing, the movie is supposedly trying to get its audience to think │
│ about gun control. In actuality, the United States gun violence problem │
│ is barely addressed by the film, and Fleder seems more concerned with │
│ stylish chases and double crosses than getting away from familiar │
│ cliches. The evil, weapon-manufacturing Republican CEOs all smoke cigars │
│ and lurk in dim, well-decorated offices. Hackman is the quintessential │
│ law-wielding capitalist scum bag without a shred of redeemability. │
│ Hoffman is too idealistic to even entertain the idea of bending the │
│ rules a bit, and so on and so on... │
│ │
│ All this is not to say that the film fails to deliver some really good │
│ scenes. Watching Hackman and Hoffman square off is never boring and │
│ indeed their big showdown in this film is not. Overall, however, Runaway │
│ Jury -- both the film and the score -- is just about what you'd expect │
│ it to be and not a whole lot more. Both are well-crafted with several │
│ bright moments, but never really throw any curveballs that are too │
│ surprising. I heard someone comment that with Runaway Jury, you │
│ essentially have a C-grade director shooting a B-grade script with an A │
│ -list cast. Those words sum it up better than mine probably could, but │
│ it should also be noted that there's a grade-A composer at work here │
│ too. │
│ │
│ Enjoy another GREAT release from SRN!!! │
│ │
└────────────────────────────────────────────────────────────────────────────┘
┌────────────────────────────────────────────────────────────────────────────┐
│ _______ __ _____ __ __ │
│ |_ _|.----.---.-.----.| |--.| |_|__|.-----.| |_ │
│ | | | _| _ | __|| < | | ||__ --|| _| │
│ |___| |__| |___._|____||__|__||_______|__||_____||____| │
│ │
│ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ │
│ │
│ 01 - Runaway Jury [05:37] │
│ 02 - Dumb Witness [01:33] │
│ 03 - Cheaper By The Dozen [03:06] │
│ 04 - The Games Afoot [01:24] │
│ 05 - Not Lady Liberty [01:56] │
│ 06 - Shark Tactics [04:28] │
│ 07 - The Divine Komeda [01:59] │
│ 08 - Jury For Sale [02:52] │
│ 09 - Easters Con [01:02] │
│ 10 - Voir Dire [06:06] │
│ 11 - Habeas Corpus [02:43] │
│ 12 - Rankin Fitch [03:45] │
│ 13 - Spilt Whiskey [02:09] │
│ 14 - The Devils Not Such A Bad... [02:04] │
│ 15 - Erase Her Form My Heart [04:17] │
│ 16 - Fayeth In Fate No More [08:32] │
│ 17 - Who Hurt You [03:06] │
│ 18 - Unconditional Love [02:51] │
│ │
│ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ │
│ │
│ ToTaL TRaCKS: [ 18 ] · SiZe: [ 81,9 MB ] · ToTaL TiMe: [ 59:30 ] │
│ │
└────────────────────────────────────────────────────────────────────────────┘
()_()
(o o)
┌──[ GRouP iNFo ]────────────────ooO──`o'──Ooo───────────────────────────────┐
│ │
│ TEAM SiRiON was established in the beginning of March 2003 by a group of │
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│ sharing our music with all of you. │
│ │
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│ │
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