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@Meta: Really Point Break was interesting?, it's only 10 minutes of music released, and i din't care about it, honestly, and the movie was really, really bad.<br><br>As for Tomb Raider, the music was serviciable in the movie, but i more comfortable with it than Point Break.I'm not sure JXL is picking the projects. In the case of Tomb Raider it seems like WB handed it to him when Joss Whedon asked them to replace him on Justice League. I guess they were annoyed because he had been a frequent collaborator, so giving him another blockbuster straightaway was a soft way of dealing with that.<br><br>Also yes poor JXL really seems pigeonholed. Even though, to be honest, the only style he's proven excellent so far is the rythmic stuff (see the highlights of Fury Road). His rare excursions to other styles have been quite bland to me, so the fact that he's always asked to do the same style isn't really a surprise. Directors/producters who want this specific sound will call JXL, and people who're making a comedy or romance won't even bother and will call another composer.@mpolonest123<br><br>I agree...And, after the promise with Man of Steel and Mad Max (Technically it's OK and serviceable, but I hold this one personally dear, so I give it a pass) I have to say that after Bat v Sup Junkie has gone by the wayside...I dunno if it has anything to do with his influence with Zimmer or what, but...Apart from Point Break and Max, I don't really care for his other all.   <br><br><br>This guy seems to be waning worse than most all the RCP composers...Hell, I'm even finding Rupert Gregson Williams to be surpassing him, these days....and I don't give a crap about Rupert's work at all, save Tarzan when he woke me.Though considering their actual roles in the production of the score, it's likely that it was an obligation on WB's part to credit Bob, Melissa, and Mark in this instance.The Justice League listing of "Is She With You?" in the credits list the following people: Hans Zimmer, Bob Badami (as Robert Badami), Melissa Muik, Mark Wherry (as Mark Andrew Wherry) and Steve Mazzaro. No sign of Tom here either, so I'm definitely inclined to agree that he was asked his opinion on the theme to help shape it a bit.
Rona ma Africa<br>Ratang ka kopano<br>Batho ba Africa<br>Ngothando<br>Sizongoba<br>Ma AfricaAlso, i saw Tomb Raider... it was OKI don't Mad Max as score was great, i enjoyed few tracks, but not much neither. Also that too for Deadpool, the main theme is kinda good, the rest is forgettable.oof...if you "can't wait any longer!" then stop waiting and shut up about it. Convenient indeed :P
@Edmund<br>I think one of the key problems is that he seems to pick the shittiest films to work on. Point Break, Dark Tower, Tomb Raider, etc. <br>But then we get Black Mass, Brimstone, and Mad Max, all excellent scores/films. And I know the quality of the film doesnít need impact the quality of the score but JXL obviously is pigeonholed as an action/electronics composer. I would love to hear him expand his range and work on scores outside of the action genre. Much like how Hans does a number of different scores.<br><br>Imagine a Junkie XL comedy or romantic drama!Nevermind found it on youtube. Well how convenientI wasn't yelling at the site workers. How has this been out. I have  looked all over youtube and the internet and I can't find it. Can you kindly point me to where I can listen/download it??I wasn't a huge fan of Mad Max in the first place, but I'm increasingly convinced that it was the peak of Mr. XL's powers as a film composer.Itís funny you say that, in The Dark Tower there is an amazing string section at the opening of ďDeath Always WinsĒ (which was cut out of the film of course) that lasts maybe 10 seconds and is probably the highlight of the score for me.<br><br>As for Tomb Raider, Iíve tried revisiting it in the past few days to see if I would like it better.<br>No.<br>Almost everything about this score is functional at best, undeveloped at worst. Itís almost as if long sections go by with only sound design, just to have a burst of drums or orchestra, then back to sound design. And yes, I know Mad Max was the same case, but itís frustrating to hear a lesser version of that sound years later from the same composer.
There was this tiny section towards the end of the track The Devils Sea, which I thought was pretty daring, symphonywise. But I just didn't have the care in me to even cut that little 10 second part out to add to my collection.I'm not really sure either. I'm having a hard time making the tracklist from what leaked line up with the tracklist we see here. And I don't think everything is on there, I can't find the Atli track for instance...Okay, so maybe "decade-plus" would have been more accurate...My point stands! ;)Bullet reused on dunkirk, so this what I mean hybrid when 2 month ago I said that Hans reused some cues from BvS on Dunkirk...i'm not criticizing just noting.Officially, the whole BvS score is credited to HZ & JXL, so the theme is kind of "his" even if he didn't write it himself. Note that his formulation is very careful and leaves all interpretations open: "I may have had a hand" didn't mean he wrote it. It can simply mean that he gave Hans his opinion about it, or some piece of advice on the mix or the drum pattern for instance...

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Hans ZimmerHarry Gregson-WilliamsNick Glennie-SmithSteve Jablonsky
Composer : Main ThemeComposerAdditional MusicAdditional Music
Smilla's Sense Of Snow
Label: Constantin Records
Length: 54'50 rating:        3/5
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (4078 votes)


  1. Greenland: Anno 1859 (4:14)
    Hans Zimmer, Harry Gregson-Williams
  2. Isaiah's Theme (2:06)
    Hans Zimmer
  3. Smilla Learns More (4:22)
    Hans Zimmer, Harry Gregson-Williams
  4. Threatened With Jail (4:47)
    Hans Zimmer, Harry Gregson-Williams
  5. Who Is The Mechanic? (4:26)
    Harry Gregson-Williams
  6. Secrets Of The Ship (7:11)
    Harry Gregson-Williams
  7. Chase At Sea (8:07)
    Harry Gregson-Williams
  8. Greenlend Revisited (10:28)
    Hans Zimmer, Harry Gregson-Williams
  9. The Truth Revealed (6:41)
    Harry Gregson-Williams, Nick Glennie-Smith
  10. End Titles (2:23)
    Hans Zimmer, Harry Gregson-Williams
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David reply Replies: 0 || 2017-03-01 13:51:38
Soundtrack is now available on Spotify :)

Hybrid Soldier reply Replies: 2 || 2013-05-14 10:01:56
Details here. There has always been questions about HZ being really involved on that one or just like The Whole Wide World letting HGW work on his own.

He actually wrote the theme here... NGS helped a bit. And Jablonsky is not really known but probably arranged a lot of electronica in the middle of all this ! :)

Edmund Meinerts2013-05-14 10:48:37
It's always a nice surprise when you go back and add the details for an old and somewhat obscure score like this.

...any chance of doing it for the King Arthur complete score? ;)

Hybrid Soldier2013-05-14 10:53:29
I'd love to, but apart from a bunch of cues, there's no material to make such an analysis... :/

Falconet From Italy reply Replies: 0 || 2008-10-13 00:00:00
game? this is a movie!! ^^

steven reply Replies: 0 || 2008-01-08 00:00:00
this game is so cool© 2001-2017 OST 
Smilla's Sense Of Snow soundtrack - Harry Gregson-Williams 1997