Soundtrack Blog Soundtrack Reviews Soundtrack Features Soundtrack Forum Soundtrack Contest Soundtrack Shop About and Contact Home Listen or subscribe to our podcast - The SoundCast Follow us on Twitter Like us at Facebook Tracksounds:  The Film Music and Soundtrack Experience

QUICK-CLICK REVIEWS (Vol. 25)

Apocalypse World War II
The Best Exotic Marigold Hotel
Music from the Batman Trilogy
The Possession

FULL  SOUNDTRACK REVIEWS

Captain America:  The Winter Soldier
Rio 2
Castlevania: Lords of Shadow 2
Castlevania: Lords/Shadow/Mirror of Fate
Doctor Who: Series 7

POPULAR FEATURES

Interview: Neil S. Bulk
A Composer's Guide to Video Game Music
Interview: Sean Callery
Interview: Trevor Morris
Music of Shadow (Castlevania)

LATEST PODCAST EPISODES

SoundCast 73 - The Winter Soldier
SoundCast 72 - 2013 Cue Awards
Soundcast 70 - The Desolation of Smaug
Interview: Brian Tyler (Thor/Dark World)
Soundcast 69 - The Music of Sound

 

 

 

The Karate Kid (2010) by James Horner

The Karate Kid (2010)

Buy online

The Karate Kid (Soundtrack) by James Horner
The Karate Kid (Poster and Memorabilia)

 

 

 

 

 

 

 

The Karate Kid (2010) (Soundtrack) by James Horner

The Karate Kid (2010)
Composed by James Horner
Madison Gate Records (2010)

Rating: 8/10

Buy The Karate Kid (2010) by James Horner  from Amazon.com

 

 

“THE KARATE KID is one of JAMES HORNER’s strongest efforts in years and does wonders to support the unexpectedly great film re-make it’s written for.”

Everything is Kung Fu
Review by Marius Masalar

There is magic at work here. The magic is called good filmmaking and it becomes evident when you consider that all the individual parts of THE KARATE KID are essentially formulaic re-hashes of stuff we’ve seen and heard before. If you were to analyze it coldly, you would see a typical inspirational movie, the likes of which would barely be worthy of a second glance. And yet…when you watch the film, everything comes together so effortlessly that no amount of analysis seems able to distract from the inherent spirit of the picture. It’s fun, it’s motivational, it’s moving. That’s magic.

Initially, the project was to be scored by Icelandic composer, Atli Örvarsson, whose work has recently reached mainstream notice after several successful films done for Zimmer’s Remote Control Productions. Fairly late in the production process, however, he was replaced by none other than JAMES HORNER, fresh from his work on AVATAR. Perhaps it’s appropriate that HORNER, who is known for being self-referential, offers a very fresh sounding score for THE KARATE KID, even if the rushed schedule is evident.

The film’s opening sequence is underscored by the gentle “Leaving Detroit” (1), whose soft woodwind solos give way to strings and an introduction of the film’s main thematic material on the trumpet. There isn’t really an overarching theme per se, but there are some recognizable musical shapes that recur throughout the score to good effect. The latter half of the track is a nostalgic throwback to family movie scores of the 90s, with a piano joining underneath the ensemble. There is actually a fair bit of time spent in the film with portraying the characters’ new life in Beijing, but “Looking for Mr. Han” (2), a very brief and unremarkable cue, is about the only thing the score has to show for it. A poignant moment in the film where the local martial arts school is discovered is accompanied by an absolutely stunning introduction of HORNER’s theme for the Kung Fu elements in the film. “Kung Fu Heaven” (3) is an uncomplicated rising motif voiced by strings and choir that manages to perfectly and beautifully capture the peace and awe of the subject matter.

The climatic and affecting moments that close the first act of the film are neatly summed up in “’I Want to Go Home’ — The Forbidden City” (4), which begins with sensitive underscore before rising to reveal the majestic Forbidden City with a sublime dance of the strings. The pentatonic theme appearing midway through the track is stirring and magical, and it’s a great pity that it does not make another appearance in the score because it is easily one of the best moments on the album. HORNER chooses to use a mostly traditional western orchestral ensemble for THE KARATE KID, and the ethnic instruments he does use appear sparingly and to great effect. “The Lunchroom” (5) showcases some of these elements more prominently before giving way to a sinister, pulsing piano motif for the building conflict between the young rivals in the film.

Perhaps the first slip is “Backstreet Beating” (6). There is nothing inherently wrong with the track; it’s got a good sense of motion and some contemporary percussion lines, but it feels somehow incongruous. The fights in the film are visceral and while the electronic elements aren’t necessarily out of place, the track feels like it was written on autopilot. It’s a standard percussion loop-driven cue with some instrumental lines meandering about overtop, and the result is underwhelming. Interestingly, “Han’s Kung Fu” (7) has a very similar construction but makes a far better impression because it returns to the character established in the earlier cues. It feels more authentic. The percussion loops are accompanied by rousing key changes and string arpeggios, and although the loops fall a bit out of sync with the orchestra, it’s still an excellent track.

“Ancient Chinese Medicine” (8) and “Beijing Valentine” (9) are more ambient offerings that accomplish their mission admirably against the picture but aren’t terribly interesting on album. The latter opens as if working toward a stirring love theme, but the stunted length never gives it the chance. Luckily, “Mei Ying’s Kiss” (10) makes up for it. A slow, waltz-like ballad, this cue also features the warm tones of the piano and muted strings peacefully stating the main theme. There are several training montages in the film, all admirably featuring score rather than jarring pop songs. “Jacket On, Jacket Off” (11) is one such cue, featuring some misty synth vocals and processed percussion that combine to evoke an airy, meditative feeling.

“Journey to the Spiritual Mountain” (12) is another cue that stood out both on album and in the film as a bit out of place. At least parts of it. The opening is sudden and suggests Home Alone more than any journey to a sacred temple of Kung Fu training. It’s almost dorky in its treatment of the excitement. The track tones things down a bit over the course of its nearly 9-minute length, and the vast majority redeems the two statements of the unnecessarily peppy theme from the opening seconds. This track would have been the perfect place to revisit the stirring motif from the Forbidden City sequence, but the opportunity was overlooked. Nevertheless, after the three-minute mark the track rises to match the visuals of the mountains with a climatic motif and moody ethnic woodwind and string solos.

“Hard Training” (13) is another training montage, as the title suggests. It is more active than its predecessor and punctuates the action with strong hits and rhythms. It is thoroughly enjoyable despite the slightly Mickey-Mouse-like ending. “All Work And No Play” (14) is a quick transitional cue that comes and goes without leaving an impression, which definitely cannot be said about what follows. “From Master To Student To Master” (15) is the longest track on the album, clocking in at just over ten and a half minutes, and it features one of the most patient and heartfelt builds in recent memory. The intensity reached by the sixth minute and beyond is staggering, especially in conjunction with the emotional moments in the film.

“Dre’s Gift and Apology” (16) falls quite flat after the strength of the previous cue, but it serves as a good way to ease into the ending tracks. “Tournament Time” (17) is another one of those tracks that feels like it’s just going through the motions, so it’s hardly worth mentioning. “Final Contest” (18) is an extremely strong closing cue, summing up the thematic elements of the score in a powerful and celebratory climax.

When you reach the end of the album, you may be struck by several things. For one, not only is the score less blatantly self-referential than other JAMES HORNER scores (and no danger motif!), but it also feels like it came from the heart somehow. I mention this because even with a year to work on it, HORNER’s score for AVATAR felt soulless to me. Somehow this occasionally messy rush job — with loops falling out of sync with the orchestra and some unfortunate autopilot tracks — felt more alive and authentic than AVATAR ever did. More excitingly, it makes me feel like perhaps HORNER is turning over a new leaf. Without a doubt though, THE KARATE KID is one of JAMES HORNER’s strongest efforts in years and does wonders to support the unexpectedly great film re-make it’s written for.

Rating: 8/10

 

Got a comment?  Discuss this music here!


Track

Track Title Track Time  Rating
1 Leaving Detroit 2:55 *****
2 Looking for Mr. Han 1:29 ***
3 Kung Fu Heaven 1:19 *****
4 "I Want to Go Home" - The Forbidden City 4:29 *****
5 The Lunchroom 2:29 ****
6 Backstreet Beating 3:24 ***
7 Han's Kung Fu 1:39 *****
8 Ancient Chinese Medicine 1:26 ***
9 Beijing Valentine 1:34 ***
10 Mei Ying's Kiss 3:23 ****
11 Jacket On, Jacket Off 2:32 *****
12 Journey to the Spiritual Mountain 8:49 ****
13 Hard Training 1:21 ****
14 All Work and No Play 1:41 ***
15 From Master to Student to Master 10:33 *****
16 Dre's Gift and Apology 3:07 **
17 Tournament Time 5:09 ***
18 Final Contest 6:48 *****
  Total Running Time (approx)    

 

 
   

 

Home  |  Soundtrack ReviewsBlog |  Podcast | News Forum  |  Features  |  About  |  Advertise  |  Links   | Shop  

YesAsia.com - Asian Entertainment products CD Universe - Music, Movies, & Games At Low Prices! iTunes Logo 88x31-1

Copyright ©1998 - 2009. Tracksounds:  The Film Music Experience.   All rights reserved. This material may not be published, broadcast, rewritten or redistributed in any form.  All compact disc artwork is property of the specified record label and appears here for informational purposes only.  All sound clips are in Real Audio format or mp3 and are the exclusive property of their respective record labels. Contact the Webmaster