Nostalgia is alive and well in the year 2015. There are numerous film franchises from yesteryear getting the reboot/sequel treatment and this year is seeing this “phenomenon” more than ever before. One such franchise that has recently had new life injected into it is the Australian dystopian adventure film Mad Max. The series began in 1979 with a young Mel Gibson in the lead role and there were two sequels (1981 and 1985). These films saw some very gritty and some very raw action storytelling. Director George Miller has now returned 30 years later to continue the story with Mad Max: Fury Road, a high octane, no holds barred thrill ride that not only has great action and direction but a killer musical score courtesy of Mr. Tom Holkenborg (a.k.a.. Junkie XL).
In the modern digital world we all live in today, one can argue that “print is dead”. To read a book may seem like an activity not many engage in and this is true in some capacity. However books like E.L. James’ Fifty Shades of Grey get made and usher in a new “era” of the printed word being consumed by the masses. Grey is a highly popular series of novels and with a provocative plot and steamy moments which has become a worldwide phenomenon. Obviously a feature film was destined to be made and a corresponding soundtrack was also released. Fans of Grey can now listen to the songs on the album which are almost as sexy and seductive as the book itself.
In the past two decades, the name Hans Zimmer has been synonymous will the blockbuster film. His music manages to capture the very essence and absolute beauty of almost every project he touches and his unique style has served as the backbone for many action and adventure franchises. From his Oscar-winning score to The Lion King to Pearl Harbor to The Dark Knight Trilogy to Pirates of the Caribbean, not to mention a plethora of other notable films, Zimmer is the industry standard for powerful film music. In fact, one can even go so far as to call him the new John Williams. His latest work is featured in the quirky sci-fi actioner Chappie and while it isn’t the man’s best score, it does give a nice wink at synth-heavy soundtracks of yesteryear, most notably Vangelis’ 1982 score for Blade Runner, a film with many similarities to Chappie.