The soundtrack for About Time, the 2013 British romantic comedy from Love Actually writer and director Richard Curtis, dutifully reflects its story's time travel premise with a 17-song set of (mostly) previously released selections from the likes of The Killers ("Mr. Brightside"), Groove Armada ("At the River"), Amy Winehouse ("Back to Black"), and Nick Cave ("Into My Arms"). Ben Folds offers up a new, heavily orchestrated version of his sentimental 2001 ballad "The Luckiest," while ex-Dream Academy mastermind Nick Laird Clowes offers up a pair of wistful piano pieces ("Golborne Road" and "The About Time Theme") from his evocative score.
The Limited Deluxe Edition features 23 songs (an additional 7 songs) including all the original songs performed in the film by Jeff Bridges and Colin Farrell, "The Weary Kind" performed by Ryan Bingham (the theme song heard in the film's trailer and closing credits) and music featured in the film by Waylon Jennings, Lucinda Williams, Buck Owens, Sam Phillips and many more. It is packaged with a 12 page booklet featuring liner notes, lyrics and photographs. The soundtrack was co-produced by 10-time Grammy Award winner T Bone Burnett. Burnett, who co-produced the soundtrack with guitarist/songwriter Stephen Bruton. Synopsis Four-time Academy Award® nominee JEFF BRIDGES stars as the richly comic, semi-tragic romantic anti-hero Bad Blake, a broken-down, hard-living country music singer who's had way too many marriages, far too many years on the road and one too many drinks way too many times.
Pretty Woman is noted for its musical selections and hugely successful soundtrack. The film features the song "Oh, Pretty Woman" by Roy Orbison, which inspired the movie's title. Roxette's "It Must Have Been Love" reached No. 1 on the Billboard Hot 100 in June 1990. The soundtrack also features "King of Wishful Thinking" by Go West, "Show Me Your Soul" by the Red Hot Chili Peppers, "No Explanation" by Peter Cetera, "Wild Women Do" by Natalie Cole and "Fallen" by Lauren Wood. The soundtrack went on to be certified three times platinum by the RIAA.
Like its parent film, T2 Trainspotting’s soundtrack eschews cosy Cool Britannia nostalgia for something weirder and better. The original soundtrack was a sharp mix of cult classics and of-the-moment artists. Rather than get Blur and co back, Danny Boyle has called on a more leftfield lineup of young guns, the likes of Mercury-winning Edinburgh alt hip-hop trio Young Fathers, Brixton scuzz rockers Fat White Family and deliciously demented Irish rappers Rubberbandits. The classic side of things is held up by Queen, Run DMC, Blondie and more, with the whole bookended by Trainspotting’s biggest tracks reborn: a mad-dog Prodigy remix of Iggy’s Lust for Life and Underworld’s Slow Slippy. In our retromaniac world, it might not attain the original’s classic status, but it’s all the better for its bravery. (The Guardian)
This sequel to Saturday Night Fever lacked the box office clout of the original, and the soundtrack album was likewise a disappointing seller, but it actually contains some of the better Bee Gees work of the 80s, notably the sad ballad "Someone Belonging to Someone".
Brother Bear: An Original Walt Disney Records Soundtrack is the soundtrack to Disney's 2003 animated feature Brother Bear. It contains the film's music composed by Mark Mancina and Phil Collins, as well as songs written by Collins, and performed by Tina Turner, The Blind Boys of Alabama, Oren Waters, The Bulgarian Women's Choir, and even Collins himself. Much of the soundtrack in the film consists of the songs performed by Collins as a montage, much like what was done with the earlier Disney soundtrack to film Tarzan, but not entirely. The album was released on October 21, 2003 by Walt Disney Records.
Although I usually find the inclusion of dialogue on a soundtrack to be intrusive, that's not the case here. Luckily it is not too overdone. The compositions by Trevor Jones and the sax of Courtney Pine bring back all the haunting beauty and terror of the film. There are no throwaway screeching scare tracks. At under 40 minutes, it is a beautiful rendering of a sinister mood that can be listened to again and again. More than a decade later, one might say the film doesn't keep it's "mystery" very well hidden but the music has held up. It's a superior example of a composer's ability to make a good film great and for that reason, I can watch it again and again. Note however, I could not watch the film without its score but I can spin the disc constantly. Alan Parker was a genius for choosing to go with atmosphere rather than musical hysterics. Never have the blues been so unnervingly hypnotic.