Vertical Limit: Original Motion Picture Soundtrack (2000 Film) [Soundtrack]

vertical limit: original motion picture soundtrack (2000 film) [soundtrack]

Editorial Reviews
Amazon.com
Give Hollywood a star cast, a towering, ice-gripped mountain, and a cliché-ridden script and one thing is certain: somebody's going to get hurt. While many critics thought the real casualties were those filmgoers who shelled out for this cliff-hanging snow job, let's not overlook the work of scorer James Newton Howard, whose solid efforts accounted for keeping the film's pace and action sequences on track. His score alternates from the rhythmically ethno-exotic (most dangerous, ice-gripped mountain littered with dead and dying Hollywood characters being located in faraway locales) to the traditionally Hollywood suspenseful and dramatic. Often using his typically seamless fusion of the symphonic and the synthetic, Howard's professional work here is solid and purposeful, as dynamically driven and diverse as the film is staid and predictable. --Jerry McCulley

Vertical Limit: Original Motion Picture Soundtrack (2000 Film),James Newton Howard,Varese Sarabande,Film Music,Original Score,Pop,Soundtrack,Soundtracks,Soundtracks & Film Scores

Vertical Limit: Original Motion Picture Soundtrack (2000 Film) [Soundtrack]

Average customer rating:

Brilliant music by Howard (again)
One of the most riveting film soundtracks
Takes you well beyond the vertical limit
High Rise
One of Howard's Best

Vertical Limit: Original Motion Picture Soundtrack (2000 Film)
James Newton Howard
Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music
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ASIN: B000054OXG
Release Date: 2000-12-12

Tracks:

Utah
Three Years Later
I Need One More
Base Camp
You Wanna Do This?
Spindrift
Avalanche
Your Father Was A Smart Man
Don't Touch Her
Maybe You Should Turn Back
Nitro
Vaughn Decides
Annie And Peter
Peter's Jump/Tom's Heart
It's A Good Song

Amazon.com

Give Hollywood a star cast, a towering, ice-gripped mountain, and a cliché-ridden script and one thing is certain: somebody's going to get hurt. While many critics thought the real casualties were those filmgoers who shelled out for this cliff-hanging snow job, let's not overlook the work of scorer James Newton Howard, whose solid efforts accounted for keeping the film's pace and action sequences on track. His score alternates from the rhythmically ethno-exotic (most dangerous, ice-gripped mountain littered with dead and dying Hollywood characters being located in faraway locales) to the traditionally Hollywood suspenseful and dramatic. Often using his typically seamless fusion of the symphonic and the synthetic, Howard's professional work here is solid and purposeful, as dynamically driven and diverse as the film is staid and predictable. --Jerry McCulley

Customer Reviews:

Brilliant music by Howard (again).......2005-08-10

Brilliant score by James Newton Howard.

Information for the guy who was expecting the trailer music on the album:

A little stupid to think this. Music from the film is hardly ever used in it's trailer. Why? Because the trailer is assembled before the score has been recorded and mixed. Trailer music is more than often music from other film scores or library music.

One of the most riveting film soundtracks.......2004-01-04

This beautifully evocative soundtrack is as shimmering and grand as the Himalayas. James Newton Howard has really performed magic: I listen to this CD for years now and find everytime something to enjoy again. That's really a good buy (or a perfect gift for music lovers).

Takes you well beyond the vertical limit.......2003-01-21

James Newton Howard, who had a remarkable year in 2000, really outdoes himself with this awesome, thematic action score. The first 7 tracks really shine, with "Utah" beginning the score with brass playing the main theme over heavy percussion. "Three Years Later" showcases the theme being played over the beautiful mountainous setting of the film. It is a heroic and noble 6 note fanfarish motif played mainly by the brass section. The theme gets more recognition in "Base Camp", "Maybe You Should Turn Back", and "It's A Good Song". A noble secondary theme that really gives you goose bumps is found in "You Wanna Do This?" This secondary theme is heard again in "Maybe You Should Turn Back", but not as noble and heroic as in the other track. There are some really good action cues as well, such as "Avalanche", which contains pulse pounding brass lines, forceful strings, and driving percussion. "Nitro" is another good action and suspense cue, with chasing percussion and ominous brass and strings. "Peter's Jump/Tom's Heart" is another great action and ominous cue, with plenty of suspenseful and action packed moments. "Your Father Was A Smart Man", "Annie and Peter", and "It's A Good Song" are 3 laid back cues that focus on the brother and sister of the film and not the mountain climbing adventures. As the first half of the soundtrack is much better than the second, don't let that talk you out of getting this. The second half is good, just not as good as the first. A solid recommendation all around.

High Rise.......2001-03-04

James Newton Howard wrote a fine score to "Vertical Limit", a CD which opens with 'Utah', a track that reminds us of the kind of orchestrations he used in the main title for "Waterworld".

His action cues are somewhat reminiscent of Jerry Goldsmith's action pieces -'Three Years Later' falls into this category -, yet Howard injects certain style to them. I must praise spectacular tracks such as 'Avalanche' and, specially, 'Nitro'. We can also be touched by tender pieces such as 'Annie And Peter', and 'It's A Good Song'.

I must say that I found surprising that Varèse Sarabande released a forty-four-minute CD of a music score recorded in Los Angeles. However I am very pleased with the results, thus coming up with some of James Newton Howard's finest music ever written to date.

One of Howard's Best.......2001-01-26

I have only recently focused on the film scores of James Newton Howard, and I must credit his very exciting music for the film "Virtical Limit" as the primary motivation. I have long admired several of his works ("Waterworld" and "Wyatt Earp"), but this score caused me to settle down and give this notable composer some serious time. Recently, I have also listened to Howard's wonderful music for "The Postman" and "Dinosaur." Overall, this has been a very enjoyable experience. The score for "Virtical Limit" served as the inspiration, and it deserves strong applause. Howard does everything that is necessary to accentutate tense scenes in the film, but he also has sweeping passages that are quite remarkable. He has made interesting use of percussion in many of his scores and it has become a recognizable trademark of sorts. Here percussion and chorus are used to great effect, especially early in the score. His main theme is memorable, as well, and is probably one of his best. An earlier review did, however find reason for complaint with this recording. He claimed that it did not include the end credits music, and sadly this is true, whatever the reason for the exclusion. The good news is that this will be remedied by the future DVD. On the other hand, most of this music is found in other parts of the score. I too would have loved to have even more of this wonderful, and for me motivating, score...bravo!

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