Review: X-Men: First Class - Henry Jackman

After three finically successful films and one not so great spin-off the “X-Men” return in this years “pre-boot” to the franchise that made adapting every comic, cartoon and video game in history into a film a finically viable idea again.  In this new entry we go back to the 1960’s cold war era and explore the uprising of a new mutant race and how two incredible and very different men would be change the course of American history and the course of mutant kind through tremendous friendship and then a bitter rivalry.

So far the X series wins my vote for an award for most composer changes in a single franchise. Each film has for one reason or another had a different composer attached, each with their own take on the themes and motifs to this band of unlikely heroes and the tone each separate film would have. Bryan Singers first film was being produced during a time when his usual collaborating composer, John Ottman was busy making his directorial debut, making him unavailable. Instead Michael Kamen (Die Hard, Lethal Weapon most notably) was tapped instead. Kamens score, while borrowing from the 90’s tv series main theme song, was very weighty, slow, had electronic elements that came and left and random and never felt fully fleshed out, but was satisfying enough for a first fore into the X universe. 

Singer returned to direct the sequel “X2” and brought along Ottman this time. Ottmans score is what most people I would think have imagined a more traditional score for an X-Men film to be.  Borrowing elements from John Williams this score was more fleshed out with its main theme and had good character motives, including a good “hint” of a theme for Jean Grey who would later become a central element of the third installment. After this point Singer left the franchise to pursue his own take on Superman, taking Ottman (and his Williams influence) and half of the other crew members with him.

Mathew Vaughn was originally in the short list of directors for the third X film, but left over creative differences with the studio a decision, by now I’m sure 20^th Century Fox regrets. Eventually Brett Ratner was signed on for the third film, hiring John Powell as the composer. Powells score had become incredibly bombastic and in your face especially during action sequences. While the main theme for the character of The Phoenix was undeniably interesting and epic, the main theme and the motif for Magneto and his brotherhood left you underwhelmed, especially since of the trilogy this main theme is the farthest away from tv series.

I don’t feel the need to really address the Wolverine spin-off since the studio denies is existence now and the music in that film was incredibly below average.

But that brings us to the current film released this year “X-Men: First Class.” An original screenplay that uses elements of the First Class comic and combined elements of the unused “Magneto” screenplay, Fox has decided to go back to the beginning, allowing us to view the final falling out between Charles Xavier who would be come Professor X and Erik Lensherr would become Magneto. Mathew Vaughn was finally hired this time to direct the film and brought along his composer, Henry Jackman from his previous film “Kick-Ass.”

I wasn’t sure of this decision at first because Jackman doesn’t have as much experience with this genre and is a somewhat unknown composer. But what a great surprise he was as his very simple and very rousing score, much like the film itself, breaths new life into this franchise.  Jackmans score is a combination of orchestral and electronic elements, though the electronics are more subtle than they were on “Transformers: Dark of the Moon” and is carried by two main themes, one for each of the two central characters.

Xaviers theme, also used to represent the X-Men as a whole, is very proper English sounding, with lots of string work some subtle horns and piano. Certain takes on theme involve guitar work. Giving a early 60’s rock element.  Eriks theme however is the pollar opposite and dominates most of the score in the film and on the CD release. It’s a very ominous, dark, rousing and at times haunting theme involving guitars, horns and strings in that order. Another reoccurring part of Eriks music is loud hard base drop outs and thumps representing his ability allowing him to manipulate metal.

I give this score a lot of praise and so far is my favorite film score I have heard so far this year. Its at times very cerebral and some of the work for Erik can get under your skin. There are many fun elements to the score as well and can be a very enjoyable listening experience. Jackman had to follow three major acts from the previous scores and it could not be an easy job. And I commend him and the director for going a totally different direction with the score instead of doing what has been done before. The main theme itself is something totally original instead of trying to include elements of the main title theme from the 90s cartoon series that everyone loves and the previous composers did their best to incorporate into each of their styles. Here, Jackman creates a new theme, which is fine by me, because as much as I do love that original song, I defiantly felt it was time to try something new.

1. First Class – I actually don’t believe this piece played anywhere in the initial film but over the end credits sequence but I could be wrong if I missed it somewhere. But this track is essentially the main theme of the film, for Charles and for his newly assembled team of X-men. This is the best and most rousing form of this song on the album. Starting with strings, horns and building continually till drums and guitars come to fill out the end of the track.
2. Pain and Anger – The first haunting track to introduce us to Erik as a child as he is forced by the slimy Sebastian Shaw (Kevin Bacon) to perform his abilities on the spot before a terrible tragedy befalls him.  When Erik fails to move a coin using his powers, Shaw manipulates him into doing so through anger, anger to a point that Erik uncontrollably demolishes all the metal objects in the room.  This is the first time we hear Eriks theme, which is very bombastic and builds with anger. Until the song slows down and leads us to the flip of the coin which reveals the title of the film.
3. Would you date me? – A slow and pretty piano track that helps emphasize the longing in the character of Raven (who later becomes known as Mystique). Learning with being a woman, a mutant and struggling with her sexuality, this track is a nice lead in to the next few and is punctuated at the end with a bit of Eriks looming motif.
4. Not that sort of Bank – Erik starts to shine here, with his motif building and taking more clear form here through the build up of some strings, before slowing down, switching over to some guitar work and ending with a horn note. The rest of the track is slow ambience with some more brass section and bass sound effects.
5. Frankenstein’s Monster – One of the highlights of the album, the first fully fleshed out song for Erik as he enters a bar in Argentina looking for clues to the whereabouts of Shaw…this track unrelenting and gets loud and builds and never stops. Starting with some acoustic work adding strings, then horns, then a full orchestra to emphasize the anger and hate inside Erik. This music really stood out during the scene in the film and is very haunting and sounds great on the album. It hints a lot to the work on the Bond series and its villains.
6. What am I thinking? – A break from the bombastic tracks that represent Erik, good almost Bond like elements to it and some string work.
7. Cerebro – This track plays over Charles first use of Cerebro allowing him access to the minds millions of people, human and mutant alike. It’s a good reprise of his theme, this time more quirky with some synth elements and some brass section work that bring a little anxiety to the theme.
8. Mobilize for Russia – A short action cue with hints of Erik and some guitar work as a motif for Shaw. Its too short a track to really take notice of.
9. Rise up to Rule – The first fully fleshed out action track on the CD offers a little bit of everything. Borrowing again elements from the Bond series, with guitar, brass and minor string work. Plus a whole lot of explosive elements utilizing a lot Eriks motif and this is the first track we get to hear some background vocals to punctuate the action.
10. Cold War – A very slow moving build up again of action and this time incorporating elements of Charles motif.
11. X- Training – A break from all the action and the ambience of the last few tracks. This could almost be consider a straight rock track. Using guitar, synth elements and some brass work this song plays over the training montage as Charles teaches each of his new students how to harness and control their powers one at a time.
12. Rage and Serenity – A song that undeniably borrows elements from Hans Zimmers “Inception” still works. Charles uses Eriks emotions to help him harness his powers during training, with visions of his lost Mother. This track is very short but very emotional and you will remember it after you hear it. Another good use of vocals here.
13. To Beast or Not to Beast – A quiet moment between Raven and Hank leads to Hank conducting an experiment that goes terribly wrong during this track, which starts quiet and goes sour at the end with some ominous string and horn build up.
14. True Colors – This song represents the “X-Men” as they first appear in full uniform ready for battle. This is that sort of track that can get you stoked for your heroes. Plenty of guitar and some great percussion.
15.  Let Battle commence – This track is exciting and all over the place using the Charles/X-Men motif, Eriks theme and lots of bass drops out. As far the action cues and tracks go on this album, this one would stand out as the best.  
16.  Sub Lift – Probably one of the best tracks on the album, using the main theme with a huge choir, drums and guitar crunches, very emotional plays as Erik uses his power to lift an entire sub out of the ocean. The song very quickly switches gears however into some percussion work using Eriks motif.
17.  Coup d'Etat – Erik finally makes his transition to the dark side during this track and he kills the man whose been haunting him his whole life. This track utilizes Eriks theme in a new more menacing way with vocals instead of guitar. Then as a horrible event takes place paralyzing Charles, the song gets even more emotional.
18. Mutant and Proud – This very weighty, three minutes scores the final falling out between two sets of friends and the separation between Erik and Charles, as Erik leaves with his new brotherhood of mutants and Charles and his new X-Men on the beach. This is the best emotional track on the album as it carries into the next track…
19. X-Men – carrying over from the previous track, this song leaves you with a sense of longing and regret as Charles founds his new school and moves on into his new life as Professor X. The song ends however with a surprise batch of Erik’s final and newly formed theme as he enters as Magneto for the first time. This final cue on the this track is loud, mean with guitar and loud bass drop outs and finalizes Eriks transformation. The last 20 seconds of this track is probably the best piece of music on it.
20. Magneto – Magnetos theme is fully realized and fleshed out in a Bond villain 1960s motif here for a three minute track that plays over the end credits sequence of the film. For me personally, this is the best track on the entire album.

In my opinion, this is a great score. It gets a little repetitive at times with only two main themes and each track seems to be a consistent build up of music, but it’s a great listen and the final themes are used so well and are so enjoyable to listen too you hardly notice that it is repetitive. Available online on Itunes and in stores right now, if you the X-Men or most of all, love film score, this is a must have of 2011. 

Out of five: *****

Music as heard in film: *****

Music as heard on album: ****

X-Men First Class 

Music Composed By Henry Jackman

Additional Music By Chris Willis, Matthew Margeson

And Dominic Lewis

Produced By Henry Jackman & Al Clay

Performed By The Hollywood Symphony Orchestra

Total Running Time: 60:03

1. First Class (03:20)
2. Pain And Anger (02:58)
3. Would You Date Me? (01:44)
4. Not That Sort Of Bank (03:27)
5. Frankenstein's Monster (03:03)
6. What Am I Thinking (02:10)
7. Cerebro (02:23)
8. Mobilise For Russia (01:18)
9. Rise Up To Rule (05:56)
10. Cold War (03:20)
11. X-Training (00:30)
12. Rage And Serenity (02:06)
13. To Beast Or Not To Beast (04:47)
14. True Colours (01:51)
15. Let Battle Commence (04:45)
16. Sub Lift (02:19)
17. Coup d'Etat (02:15)
18. Mutant And Proud (03:28)
19. X-Men (02:59)
20. Magneto (01:58)

Transformers: Dark of the Moon - Steve Jablonsky

So after a giant clusterfuck with the release date, having it pushed back multiple times, the score finally arrived on iTunes the day of the films release. Last night I took a long walk through town with my mp3 player and listened to the entire thing. And as someone whose listened to film scores for a better part of his life, I feel compelled to give a full review because of its sheer level of greatness.


While just about everyone agrees that the first score was really fantastic, one thing missing was the actual Transformers theme or some resemblance to the score to the animated film in 1986. While this new score by Steve Jablonsky doesn't resolve the former, it sure is a lot more what I had (and I think a lot of fans) in mind when you think of what a Transformers film score should sound like.


This is especially nice, coming off "Revenge of the Fallen" which while a satisfactory score in its own right, had a really poor release, with only 40 minutes of music out of a 2 in a half hour movie put onto CD and most of the cues were either alternate tracks not used in the film and some of the best melodies were left of the score completely. Most notably the motif used for the Constructicons and while not new entirely, no rendition of the Allspark/Bumblebee theme appeared at all.




So with this new score, its quite a bit longer at a few minutes over an hour and none of the best cues or melodies have been left out. This score is signifiactly better than either of the previous 2 film scores however. Its darker in tone, as is the film and has more emotional depth too it. Also notible is the much smaller orchestra and the higher use of electronic and synth instruments. Including a very nasty bass guitar.


So here is each track deconstructed...Note however, there are some spoilers if you haven't seen the film.


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1. Dark side of the Moon - The film opens with a rendition "Prime" from the previous film but is quickly interuppted by the first track which scores the films opening sequence about the Apollo 11 moon mission and the real reason behind it. This track is a good mix of epic melodies and some dark serious notes represented by electric guitar. There is a melody here in the beginning not present anywhere else on the CD that treads very close on turning into the theme song from "Thor."


2. Sentinel Prime - While I tend to personally lean more towards loving villainous sounding music this track is undeniably the biggest highlight of the entire album. Not returning to the film at all, is the military sounding "Autobot" theme heard in the first film, and heard only a few time in ROTF. In this film instead we get this theme, played with piano and then strings. Its a theme of longing and it used to Represent both Sentinel and his relationship with Optimus. This melody returns later in the album in a big way.


3. Lost Signal - A very sufficient "mysterious" track that plays during the film while Optimus and Ratchet retrieve the 5 pillars and the body of Sentinel Prime. Theres a hint of the Sentinel theme at the tail end.


4. In time you'll see - The first big action track on the album is very electronic and mixed with some heavy bass drums and horns, accompanying Sentienls betrayal of the Autobots and his storming through NEST and stealing the Pillars.


5. Impress Me - Without a doubt my least favorite and the least interesting track on the album. While its not an unenjoyable listening experience, I just feel like this track is taking space up on the CD that could have been used for something better (like bumblebee perhaps?). While Sams main motif didn't make any major returns in the second score release, the exact same cue called "witwicky" from the first film is rehashed in the first scene in ROTF with his parents. That theme is totally absent from this film but is replaced with this very similar motif which plays over the montage of Sam's jobs interviews. The music is calm and quirky and gives a break from the epic music and the action music, but altogether I'd rather have something else.


6. We were gods once - This is a track that represents 2 things within the context of the film and this by far one of my favorites on the CD. Starting off with some very deep, very evil horn work and some scary electronics that remind me heavily of Jablonskys work on "Texas Chainsaw Massacre." This song represents both Sentinel Prime after he has turned evil and it represents the Decepticons as a whole. While I like everyone else enjoyed the 2 note choir build up that represented the Decepticons in the first film and Jablonsky carried that sound over to ROTF, but losing the 2 note structure, I always felt that music came off as cartoonish, sounding almost more like a villain theme you'd hear in Star Trek. This track is how the Decepticons deserved to be represented. With extreme menace and not be taken lightly.


The track starts off with Sentinels theme from track 1, but this time very drug out with low brass and claps of and hits of synth metal. Until the track builds into an electronic melody that is simply amazing. This track builds and builds never letting up until the very end when it returns the evil motif of Sentinel one final time and fades out.


7. Battle - Starting with some loose guitar work and then building with strings drums and then choir this is a very epic piece that plays during the freeway chase with "The Dreads" and again during the final battle of the film. Simply epic.


8. There is no plan - This track is sure to be a favorite of anyone who thoroughly enjoyed the score to the first film. The "Arrival to Earth" melody from the first film, when the Autobots descend on Earth and take their alt modes makes its return here in a very different tone. Being played with sadness and regret instead of hope and wonder with electric guitar, then the track has some ambiance before transforming into (see what I did there???) another sad version of Primes theme from the previous two scores, accompanied by piano.




9. We all work for the Decepticons - This track scores the scene after Carly is captured by Dylan and the Decepticons make their way into Chicago, taking it over as a giant fortress. The track starts off with the evil Decepticon/Sentinel cue before going into some epic string work.


10. The Fight will be your own - Playing during the scene when Sam sees the Autobot shuttle taken down before his eyes, this song is a long very unrelenting sad cue that builds up with some great viola work.


11. Shockwaves Revenge - This track can be described in two words...BAD. ASS. This track represents in the film both Shockwave and his Driller animal pet. This track is unrelenting horn and string works that moves like a locomotive. If your partial to villain themes like I am, this track is one of the best on the album. It first appears in the film during the confrontation with Shockwave in Chernobyl.


12. No prisoners, only trophies - Another slow piano and string track that builds up during the possible execution of some Autobots. This will make your heart swell.


13. The world needs you now - A piece played during the final battle of the film, this one is mostly electronic with some horns and strings, good action piece that reprises the Bumblebee melody very briefly before moving into the most epic sounding version of "Arrival to Earth" with some horn work.


14. It's our fight - The longest track on the CD at 6 minutes plays during the final battle of the film, bringing back the booming low guitar sound that played in the first film when Brawl began his attack and Megatron first appeared in Mission City. But this track takes a very different direction from the first film, with some heavy choir and almost dubstep sounding synthesizers to represent the onslaught of Optimus as he lays waste to an army of Decepticons. Then there another reprisal of Optimus's theme from the previous films in his most grand form played high with horns accompanied by strings. The song finishes off with the Decepticon motif.


15. I'm just the messenger - Starting with a heavy dose of the evil Sentinel theme and then another heavy portion of Shockwave's theme to represent the driller as it attempts to take down an entire skyscrapper in downtown Chicago. This track is actually a short mixed bag of Optimus, Shockwave, Sentinel and some epic vocals


16. I, Promise - Starting with a reprise of the melody that played when Optimus beheaded Bonecrusher in the first film, this track then progresses into some Autobot epicness as they make their triumphant return and rescue Sam after thought dead with the destruction of their shuttle.


17. Our Final Hope - Mostly a reprise of the first track and the new Autobot motif (though there are hints of the original Autobot theme from the previous two films) this track closes out the album as it plays during the final scene over Optimus ans his last speech that closes the film.


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You can tell obviously the score isn't in exact chronological order of the events in the film, but works well in this order to make an enjoyable listening experience outside of it. But what surprised me is how much of this music didn't exactly stand out to me in the film, despite its use in it and lack of alternate tracks. The album works very well. A physical CD release is rumored to be July 15th, but you can buy the album right now on iTunes. I highly recommend it. It's easily the best of the three scores and lacks most of what made the previous two films sound like a "Michael Bay" films.


Out of five *****


Music as heard in the film: **
Music as heard on the album: ****



Total Time: 59:47

1. Dark Side Of The Moon (3:49)
2. Sentinel Prime (3:16)
3. Lost Signal (4:08)
4. In Time You'll See (3:16)
5. Impress Me (3:00)
6. We Were Gods Once (4:22)
7. Battle (3:40)
8. There Is No Plan (3:36)
9. We All Work For The Decepticons (1:51)
10. The Fight Will Be Your Own (4:41)
11. Shockwave's Revenge (2:00)
12. No Prisoners, Only Trophies (3:32)
13. The World Needs You Now (1:59)
14. It's Our Fight (6:32)
15. I'm Just The Messenger (4:25)
16. I Promise (1:58)
17. Our Final Hope (3:42)