X-Men: The Last Stand

Composed by John Powell

Conducted by Pete Anthony

Performed by the Hollywood Symphony Orchestra

Produced by John Powell

Released by Varèse Sarabande Records on May 23, 2006

01 - 20 Years Ago (1:10)
02 - Bathroom Titles (1:08)
03 - The Church of Magneto,

       Raven Is My Slave Name (2:40)
04 - Meet Leech, Then Off To The Lake (2:38)
05 - Whirlpool of Love (2:02)
06 - Examining Jean (1:12)
07 - Dark Phoenix (1:28)
08 - Angel's Cure (2:32)
09 - Jean and Logan (1:39)
10 - Dark Phoenix Awakes (1:44)
11 - Rejection Is Never Easy (1:08)
12 - Magneto Plots (2:05)
13 - Entering The House (1:18)

Total Running Time: 61:27

     Fans had been all set for Bryan Singer to top his great X2 sequel, but it was not to be. Given an opportunity to do a Superman film, Singer jumped ship and the reigns were turned over to Brett Ratner. This was the cause of much concern in the early days of pre-production on this film. I've never been one to bash the man even though it seems popular to do so, and while I never cared for the Rush Hour films, I found Red Dragon to be entertaining. And while the X-men movies have been good, they aren't exactly representative of cinema as art, so I feel that Ratner is more than an adequate choice to helm the final (?) film.

     John Ottman left as well in order to compose the score for Superman Returns  (and who wouldn't jump at that?), so John Powell was hired to provide the score, marking the third of a very diverse trio of composers for this franchise. His approach mirrors the bigger orchestral style that Ottman took with X2, but this time around it's heavily pumped up and utilizes an impressing sounding choir to boot. There are moments that are a definite throwback to the quirky style that Michael Kamen did for the first film, and having them portrayed mostly in the percussion elements of some action cues makes for an interesting homage.

     Thematically, there are also snippets of previous score elements, but these are referenced only in passing. Unfortunately, Powell's themes are contain a lot of power, but little substance. Just when you think something big is going to come out of the buildup, the music dissipates. It's a rather curious way to score a superhero film, which traditionally is handled by a lot of blaring trumpets and driving percussion. All that is here, but unrestrained and chaotic. It's big and bold certainly, but the lack of structure is deflating. That is not to say that the main theme isn't good, or that Powell doesn't do much with it. His main theme mirrors the tragic elements of the story and it packs a real emotional punch within certain cues. But with not having anything else on which to build his action cues around, it becomes less than exciting.

     The biggest problem comes in the latter half  as all hell breaks loose. The score seems to end so many times only to pick the pace back up again that it's easy to loose track of the proceedings. It doesn't help that Powell follows the same formula each time, which includes a chaotic buildup that erupts in the tragic theme, then coming down again, only to rinse and repeat at least three or four times. With the film having to resolve issues with so many characters, it would seem that there really wasn't any other way to score it. Apart from the film, the score suffers greatly for it.

     Powell does what he can with the material he is given, and he does an admirable job. Despite its shortcomings, The Last Stand does provide the proper epic feeling to what could be the end of this franchise and manages to throw in some cool new ideas. Ottman wasn't quite there with X2, but I would still rate it as the best X-men score, with this album coming in at a close second. If you're interested in hearing Powell score a massive orchestral score, then by all means, give this a spin. On the other hand, if you only have plans to purchase one superhero score this summer, I'd hold onto my money until Ottman's Superman Returns.

Reviewed on June 5, 2006

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