Scream 4 Composed by Marco Beltrami
Promotional Release (2010)
Rating:
5/10
More soundclips below provided by AmazonMp3
“The greatest
disappointment of SCREAM 4 is the total lack of evolution heard in
the music. The score starts, continues and, barring a slight moment
of catharsis in the final track, ends in pretty much the same way.”
A Mid-Level Scream
Review by Richard Buxton
When looking back at the various franchises that have seen revivals in
recent years, SCREAM may not have been one that stood out for the sequel
treatment, a treatment that is becoming all-too familiar. Having
previously left us with the less than critically successful SCREAM 3, WES
CRAVEN’S slasher series had quickly “become what it originally spoofed”
(Rotten Tomatoes, 2011), a somewhat disappointing ending to what was once
a fresh and entertaining idea. Despite this, it’s never too late for a
sequel in Hollywood, and so Ghostface has returned in SCREAM 4. Revisiting
Woodsboro after 10 years, NEVE CAMPBELL’S SID must once again face the
terrors of the masked killer.
Also returning to the fray is series composer MARCO BELTRAMI. Having
composed all three previous SCREAM films, BELTRAMI’S name suggests a
continuation to the relatively adequate music heard previously. Never did
the music of the franchise threaten to stun the ears of listeners, but it
provided sufficient thrills to support the murderous efforts of Ghostface.
The original music in the SCREAM franchise is perhaps most famous for
implementing HANS ZIMMER’S BROKEN ARROW theme. The decision to include the
theme led to many a confused viewer, as images of stealth fighters and
nuclear missiles were conjured amongst all the teen-slashing-terror. In
SCREAM 4, Beltrami has done away with the theme, instead momentarily
referencing it with a throwaway effort as heard in “Dewey In The Morning”
(2). The evocative guitar, so ingrained in the spirit of BROKEN ARROW,
becomes merely a disposable nod. It is the more upbeat and emotional
moments that the score approaches success however. “Working Together” (8),
a tiptoeing piece, creates a more playful demeanor amongst the constant
repetitive angst, whilst “I Know How You Feel” (11) portrays real feeling
in the string harmonies and the haunting choir and piano in the closing
moments. These moments are momentarily extended in the opening moments of
“Touch and Go” (19) and throughout “When You Let Someone Go” (4). These
fleeting moments hint at a side to the score that BELTRAMI has not managed
to develop into something more substantial, and a side to the score that
would have provided a more rounded and enjoyable listening experience.
The majority of the music heard in SCREAM 4 is ultimately generic,
to-be-expected horror music that proves to be little more than a way of
suggesting the audience should be scared right about now. The frantic
rising staccato blasts of the orchestra heard at the climax of “You’re Not
Real” (1) can be found in almost any second-rate horror film as they do
nothing other than state the obvious. The cacophonous racket that typifies
the likes of “Which Closet” (7) and “You Are The Message (9) becomes tired
and predictable almost instantly. The relentless crashes of instruments
occasionally calls a ceasefire for moments of rhythmic comprehension,
“Everything’s Under Control” (10), but these moments are so fleeting that
they barely deserve a mention.
The greatest disappointment of SCREAM 4 is the total lack of evolution
heard in the music. The score starts, continues and, barring a slight
moment of catharsis in the final track, ends in pretty much the same way.
The idea behind the SCREAM films is clearly not the subtlest and doesn’t
cry out for a musical background of maturity and elegance, but such a
score certainly wouldn’t hurt. This is truly emphasized in the brief
moments that will likely trick a listener into greater expectations. 25
seconds into “Your Ingenue Days Are Over”, the music mercifully suggests
that it may be taking a long overdue evolutionary step forward. The motif
heard is of utmost simplicity, but would certainly suffice all things
considered. Yet, this moment is quickly washed away as the formulaic
underscore returns.
The final track of SCREAM 4, “Sid’s Advice” (21) is one of the
aforementioned moments of promise. The second half of the track is one of
actual interest, and if listened to alone, would suggest that all that
preceded it was of a similar nature. The almost bittersweet rising and
descending of the strings hints that the previous twenty tracks had all
been leading to this moment, developing themes and emotions along the way.
It is the disappointing fact that this could not be further from the
truth.
The music that Beltrami has composed is admittedly often creepy and
jolting, but surely one has the right to expect more from a seasoned
composer, writing music for the franchise he has been with since the
beginning. A potentially more fulfilling listening experience would
consist of the few emotionally engaging moments of SCREAM 4 being played
back-to-back, rather than in-between the relentless routine horror music.
