Final approach opening We

Final approach opening

We found the violence kinda shocking and out of place b/c the previews really made the final approach opening look like some sort of screwball comedy. It just didnt do anything for us. All contents copyright BabyCenter, 1997-2011 All rights reserved. This Internet site provides information of a general nature and is designed for educational purposes only. If you have any concerns about your own health or the health of your child, you should always consult with a physician or other healthcare professional. Please review the Privacy Policy and Terms of Use before using this site. Your use of the site indicates your agreement to be bound by the Terms of Use. This site is published by BabyCenter, , which is responsible for its contents as further described and qualified in the Terms of Use. I have become atried-and-true James Newton Howard fan. Ive been listening to the Lady in the Water soundtrack non-stop since it arrived no thanks to Wal-Marts wretched music selection in my mailbox. Because Isimply cant do the film justice with awritten review until Ive given it another viewing, Im going to give it ago at another time and review simply the soundtrack here. Warning there are film spoilers in my review below: It took amasterpiece such as the Lady in the Water soundtrack to convince me of the brilliance of James Newton Howard. Considering that, up until this time, Signs had been my favorite work of his and Ihave hardly heard his entire repertoire, Iexpected an equally poignant work for Lady in the Water. Little did Iexpect to be blown away so completely by thescore. Take the most scary moments of the soundtrack for The Sixth Sense, the thematic progression from Unbreakable, the simplistic ostinatos from Signs, throw in adose of Peter Pan s jocular though fully mature fantasy and you can begin to get asense of the amazing work that is Lady in the Water. Going back amoment, James Newton Howards penchant for developing musical themes or motifs for films before they have even been shot a luxury the likes of legendary composer John Williams only received afew times, such as Hook, or Harry Potter II came through in spades for the soundtrack to Signs which, in my estimation, produced amusical finale that ranks with some of this centurys greatest musical work. But the Signs soundtrack did suffer from uniformity among many of its other tracks that did not lend it to represent aconclusive masterwork from JNH. This problem is all but gone from the Lady in the Water soundtrack, with only two tracks The Party, and Officer Jimbo that get alittle flat by theend. But these two tracks, and the few bumps they throw into the soundtrack are not nearly enough to offset its shiningly magnificent representation of James Newton Howards effective restraint final approach opening masterful balance of the entire orchestra. Opening the album with the enchanting Prologue, James Newton Howard immediately and subtlety introduces us to the Blue World from the film. Starting with abasic piano ostinato that goes through four different progressions the first progression is almost identical to the string ostinato JNH used in The Venture Departs track from the King Kong soundtrack, as asimple matter of trivia, JNH then layers on his beautiful, descending theme for the Blue World. But not before, in the same Prologue track, he introduces us avariation on the rapidly descending Evil theme that appears more in full in later tracks. Though Im not abig fan of the Signs like string work in The Party, this track nevertheless creates the proper tension for the nearing climax of the film that this section goes to. Following this long track is Charades, the music to the clever scene in which Story provides information without actually saying anything.