Vantage Point (Original Motion Picture Soundtrack)
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||Vantage Point Main Title||Atli Örvarsson||2:42||$0.99||View In iTunes|
||Motorcade||Atli Örvarsson||1:36||$0.99||View In iTunes|
||Enrique and Veronica||Atli Örvarsson||2:54||$0.99||View In iTunes|
||Run Enrique Run||Atli Örvarsson||2:33||$0.99||View In iTunes|
||Lewis and Anna||Atli Örvarsson||1:19||$0.99||View In iTunes|
||President and Decoy||Atli Örvarsson||1:38||$0.99||View In iTunes|
||The Chase Begins||Atli Örvarsson||2:50||$0.99||View In iTunes|
||Serendipity||Atli Örvarsson||4:39||$0.99||View In iTunes|
||Epilogue||Atli Örvarsson||1:54||$0.99||View In iTunes|
||Tightening Circle||Atli Örvarsson||3:18||$0.99||View In iTunes|
||Clockwork||Atli Örvarsson||5:08||$0.99||View In iTunes|
||The President Is Safe||Atli Örvarsson||1:15||$0.99||View In iTunes|
||Explosion Aftermath||Atli Örvarsson||3:38||$0.99||View In iTunes|
||Suarez' Plan||Atli Örvarsson||3:57||$0.99||View In iTunes|
||Vantage Point End Title||Atli Örvarsson||2:02||$0.99||View In iTunes|
Atli Örvarsson's score for the 2008 thriller Vantage Point mixes and matches traditional symphonic orchestration with contemporary electronics to familiar but persuasive effect. While the music is cut from the same cloth as dozens of other action scores, there's no denying its taut, throbbing approach is a significant cut above the norm. Given the film's Rashomon-like story-telling conceit, which documents the same events from opposing perspectives, Atli Örvarsson could be forgiven for rehashing the same themes several times over, but instead he employs a series of specific character motifs that significantly widen the music's overall scope. Even better, cues like "Enrique and Veronica" and "President and Decoy" boast clever stylistic flourishes that evoke key character and plot points and bolster the music's decidedly cinematic texture.
Great Movie, Good Composer, Okay score.
I really enjoyed the movie, and the music definitely set the tone. The other reviews are on the mark about his similarity to John Powell and Trevor Rabin. As a stand-alone listening experience, the music doesn't do much for me. But that's why it's called "underscore". It did what it was intended to do, and that's really all that matters.
This soundtrack is not bad. I was surprised to see the name of the composer. I have never heard of Atli before this movie and was half expecting the name Trevor Rabin to appear. The style is very similar to that of Rabin's National Treasure and some John Powell. However, I think we will be seeing more of Atli in the future. This is a very interesting and unique soundtrack. I would not buy the whole album, but there are some songs worth the money on this album.
New name, good old taste
I agree with the other reviews that cite Trevor Rabin and John Powell as influences on Orvarsson's style for this piece--leaning more toward the Powell sound--but that is by no means a bad thing, especially considering the tone this music set for the film. It's not flat; it keeps a good rythym and you can listen to it from start to finish without getting the stop-and-go feeling some soundtracks have.