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From the Academy Award-winning team that brought you Finding Nemo comes the hilarious action-packed adventure about a family of undercover action heroes who, while trying to live the quiet suburban life, are forced into action to save the world! Directed by acclaimed filmmaker Brad Bird (The Iron Giant). Michael Giacchino, renowned composer of The Lost World: Jurassic Park & TV's Alias, composed the original score. The soundtrack features 19 memorable tracks from the film.
Pixar Studios continues its string of computer animation successes with this satirical tale of a family of superheroes (picture a flabby, suburbanized Fantastic Four) forced out of retirement by -- what else? -- an evil genius and his plot for world domination. Director Brad Bird, whose Iron Giant was one of the 90's most sublime, if underappreciated animated triumphs, decided he wanted his Incredibles score to be a throwback to the spy-action genre of the mid-60's. Enter Michael Giacchino, the young composer who'd previously conjured a marvelously eclectic range of musical styles in service of TV's Alias. In his feature film debut, Giacchino (with a key assist from veteran arranger Jack Hayes) ups the ante of Bird's back-to-the-future spy-score gambit with an orchestral jazz soundtrack powered by the brash rhythms of television's MannixMan From U.N.C.L.E. beneath a veneer of melodic intrigue and detached elegance that recalls the prime of John Barry's BJames Bond oeuvre. More importantly, the young composer serves it all up with a sense of assured retro-cool and a distinct lack of irony that makes it all the more inviting. --Jerry McCulley
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The score is reminiscent -- for reasons made clear in director Brad Bird's CD liner notes -- of '60s-era spy music in general, and of John Barry's classic James Bond scores in particular. Giacchino isn't just ripping off that sound, however; he's actually composed a score that sounds like it could have been from that era. It's a better Barry pastiche even than David Arnold's work on "Tomorrow Never Dies," and count my vote for Giacchino scoring the next 007 flick.
The entire album is good, but the highlight is undoubtedly the final track, "The Incredits," a seven-minute summation of the score's major themes. It was hardly an obvious choice to turn to '60s nostalgia for a modern superhero score, but the choice seems obvious in retrospect. It certainly works like a charm in the movie.
A final note: the score was performed live, meaning that all the musicians were together in the studio and playing at the same time. There is no overlaying of sounds thanks to digital technology, and that acoustic sort of quality may be a large factor in the immense charm of this album.
"Alias") and military-themed video games ("Medal of Honor"). This is his first major movie score, and it's a killer. From the horn-heavy main theme, which conjures up Lalo Schifrin's brassy, high-energy music from "Mission: Impossible" and "Mannix", to a nifty bit of Mancini-esque lounge jazz heard as we watch Bob Parr work out, Giacchino blends the styles of at least half a dozen classic movie composers- John Barry's obvious, but there just might be a little Bernstein (Leonard and Elmer) too- into his own. I think he deserved an Oscar nomination- given the low-key winner in this category ("Finding Neverland"), he just might have won it.
The production, too, is fantastic, especially considering that this was an animated movie. With an orchestrator/conductor from the Seattle Symphony, a full 50-to-60-piece orchestra in
"all-live" mode (no synths here, and he's proud of it), and even a 70-something engineer who used '60s-style, reel-to-reel equipment- you can see how it was done on "The Incredibles" DVD-
this score has the brightness and immediacy that really makes it work. Giacchino may be young, but he looks and sounds tickled to death that he was able to create and oversee a score recorded, in his words, "the right way- the way I heard all that great movie music as a kid."
I've watched the movie several times over and always note how great, and distinctive, the score is. It should be great to hear on its own as well- I, for one, would love to check out that Mancini-style track as well as the powerhouse horns on the opening and from sequences like Dash-in-the-jungle.
"The Incredibles" is not only a true animated masterpiece- and a damned good superhero caper- but marks the arrival of Michael Giacchino as, just maybe, the best young movie/TV composer of the new decade. Highly recommended.
Another reviewer said Michael Giacchino sounded like John Barry. For some reason, he reminds me more of Henry Mancini at the top of his game. Either way, I'm impatiently awaiting his next soundtrack.