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Customer Reviews

4 out of 5

57 Ratings

Literally a Genius


When Giacchino was announced as the composer for Doctor Strange, I was extremely excited. He has been such an inspiration for me, because I aspire to be a film composer someday myself. This is just a breath of fresh air, I never expected anything like this to make it into a Marvel film, the closest explorential theme I can think of within the MCU, is Ant-Man's theme, which I believe was terifically structured.

When Marvel released 'The Master of the Mystic' (a.k.a. End Credits) on Tuesday, I was honestly not sure what to think of it, but honestly, this is some brilliant work here, just typing this up here brings me to shear tears. His music is so well thought out, in a small interview at the premiere of the film, he stated that he works alongside the director, to capture the emotions of the scenes, to create the perfect music for a specific scene, and I honeslty had never thought that was a way to go about in writing music. I had always figured that composers would write music after viewing a scene, or reading a script, but it's actually a lot deeper than that; at least for Giacchino.

He takes the idea of viewing scenes or reading the film's script, and dives deeper within the actual realm of the world that is being portrayed. He wants to find the soul of each scene, and how it makes the viewer feel, which results in the type of music that he thinks is best to create. I definitely trust his judgement, and this excites me very much for the film, because I believe that with the combination of Cumberbatch and a Marvel film, we will get nothing but a masterpiece. I very much look forward to this film, because I think that it will be one of the best Marvel has done, to date.

To speak more about the 'baroque' style music, I believe, that in reference to how Chappie had 8-bit music, this has a side of music that truly describes and naturally brings out who Doctor Strange is, what he is created from, and his purpose in life. I truly feel that this is going to be harshly rated because of the strong sense of baroque music, but I think that people need to realize that Marvel has been lashed out by a lot of fans stating that their soundtracks are forgettable and whatnot, but answer this; "Will this music ever be forgotten?"

I think that even if this film may not do well, which definitely will not be the case, then it will be remembered for at least one thing, it's film score. And I believe that is awesome, and a first for a Marvel film, and even though those same fans had argued about how all of Marvel's film music was forgettable, they have finally answered your prayers, and you reject them. The world of music needs to stop being so judgemental, because this is work of craftsmanship, and I can tell that Giacchino put his heart and soul into this score, because I can definitely hear his tone throughout the score.

He will, and will always remain one of my biggest inspirations as an aspiring film composer, and I honeslty do not think that this music should be judged as harshly as it is currently. No, I don't think there are people who 'glorify' Giacchino, like some people could argue that there are Zimmer fanboys. I believe that Giacchino does not need that, he can stand on his own, with his own style, and be entirely successful in creating and setting a tone for a film just through story telling with his musical compositions. I am so glad that I got into film scores, because I do not think that I would be where I am now, if it weren't for them and my love and interest in music. I also feel like I have the ability to analyze his music, because I am at a state of mind, that without having previous interests or likes, can create an unbiased review of any film score that I feel the need to review.

I felt the need to review this score because this is as original as it gets, I honestly think this is the first time in years we have ever heard harpsichord used so prominently within a film score, in a film's setting. The only other one I can think of, was Peter Pettigrew's theme in Prisoner of Azkaban, by Williams. People need to stop being so judgemental on music, and broaden their horizons, because if they wanted original, and this is what is original, and they are disappointed, then do fans really seek to hear the same type of music in every film? Bombastic and electronic sounds that lead nowhere and usually have no thematic development or chord structure, because that seems to be what people enjoy, yet call unoriginal.

People are afraid of change, and if original is change, which this definitely is, I believe that everyone needs to be more open to listening to this score, viewing the film, and then preceeding to listen to this score again. Because, this is a masterpiece that no one should miss out on. I can already sense this being a highly underrated score, or maybe actually becoming an extreme holy grail or gem to some others. I have a feeling it will grow on most people who dislike it, most scores that are 'different' seem to do that nowadays.

Anyways, all in all, I think that before you trust the 1 star reviews that are about to come in, and are already here, you must think twice before agreeing with their opinions. Trust me, this is a score that you do not want to miss out on. I've rarely been wrong.

Thank you for taking the time to read my review.

Michael Giacchino is the composer that Marvel has needed all along!


Fantastic, breathtaking, a breath of fresh air, unique, exhilarating, surprising. This soundtrack has all the uniqe flavor that one would expect from Michael Giacchino and yet it never feels repetitive. Michael Giacchino is truly a master of his craft and this soundtrack shows that in depth. Bravo!

About Michael Giacchino

Composer Michael Giacchino grew up fascinated with both movies and music, and he went on to an ideal career writing scores for a number of acclaimed films, television series, and video games. Giacchino was born in Riverside Township, New Jersey on October 10, 1967, and grew up in nearby Edgewater Park. As a child, he developed an interest in animation and began making stop-motion cartoons, but discovered his favorite part was selecting the music that would match the action. After high school, Giacchino received a degree in film production at New York's School of Visual Arts, and then went on to study music at Lincoln Center's Julliard School. Giacchino supported himself as a publicist for the New York offices of Universal Pictures and Disney, and after completing his studies, he relocated to Burbank, California, where he worked for Disney's feature film publicity department. He moved on to Disney Interactive, assisting with production on video game projects as he continued to hone his craft in music.

After contributing music to several Disney games, he took a position with Dreamworks Interactive in 1997 and scored the video game The Lost World: Jurassic Park, released as a tie-in with the sci-fi blockbuster; the same year, he also scored a low-budget live-action thriller, Legal Deceit. Giacchino composed scores for a number of other video games, including the Medal of Honor and Call of Duty franchises, and in 2001, when producer J.J. Abrams was assembling his creative team for the television series Alias, he invited Giacchino to write music for the show, having been impressed with his video game work.

After working together successfully on Alias, Abrams hired Giacchino to compose music for the cult favorite series Lost, which earned him a Grammy Award for Outstanding Dramatic Score in 2005; Giacchino also wrote music for Abrams' short-lived but critically acclaimed show Fringe. In 2004, Brad Bird invited Giacchino to write the music for the Pixar animated feature The Incredibles; it was the first of several projects he scored for Pixar, including Ratatouille, Cars 2, and Up, the latter of which earned him an Academy Award in 2010, as well as a Grammy Award for the film's soundtrack album.

Since then, Giacchino has maintained a busy schedule scoring major projects such as Mission Impossible III, Cloverfield, Star Trek (2009), Let Me In, and Super 8. Giacchino also occasionally writes symphonic pieces, including "Camden 2000," which was commissioned for Camden, New Jersey's Haddonfield Symphony and debuted at a fundraising event for the non-profit Heart of Camden Housing Corporation. Giacchino also wrote new music to accompany the Space Mountain ride at Disney theme parks in the United States and Hong Kong.

Giacchino was involved with a number of high-profile film projects in 2015, which would prove to be a banner year for the composer. Reuniting with director Brad Bird and Pixar, he scored the animated film Inside Out, as well as Disney's futuristic Tomorrowland and, biggest of all, the summer blockbuster Jurassic World. The following year, Giacchino returned with several more high-profile productions, including scores for Doctor Strange, Star Trek Beyond, and Zootopia.

Also in 2016, it was announced that he had replaced composer Alexandre Desplat on director Gareth Edwards' highly anticipated Rogue One: A Star Wars Story. The score was released alongside the movie in December 2016, and was commended for its fresh, innovative sound palette while incorporating favorite and revered elements of John Williams' score for the previous Star Wars installments. In 2017, Giacchino supplied two more blockbuster scores with The War for the Planet of the Apes and Marvel's Spider-Man: Homecoming. ~ Mark Deming

    Riverside Township, NJ
  • BORN
    Oct 10, 1967

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