The Cell 2000 Film

I've never heard music like this before and the movie is amazing (I highly recommend it), when listening to this soundtrack, you are brought right back to their corresponding scene. I wonder how the composer came up with such beautiful and appropriate music for their corresponding scene.

Awesome film, one of the best for psychological thrillers. Gorgeously horrific imagery.

This is difficult to rate. Please note that this score is VERY DIFFERENT from Howard Shore's other work. As noted, it is bombastic and progressive in nature, as if Howard Shore was trying to emulate the work of John Corigliano. If you liked the score to Altered States, this one is a must. If you are looking for scores like Silence of the Lambs, pass it by.

One of the best scores of the 2000s. The entire soundtrack sounds great. No other composer has mixed in eastern and western sounds so expertly. The mix has this spacious, airy quality to it that gives the music an epic grandiose scale. This score is ambitious. It's harsh. It's chaotic. You'll find melody in the chaos, you just gotta listen to it a few times and not write it off as simply noise. The finale, Vital Signs, is melodically sweet and Hermanesque after nearly an hour of atonality and beautiful chaos. I really miss when Howard Shore composed music like this in the late 1990s and 2000s. I highly recommend this amazing disc.

Howard Shore has written some of the scores that matter the most to me--for Cronenberg, for THE SILENCE OF THE LAMBS. But his score for THE CELL is bombastic and bludgeoning, a lot of sound and fury passing as music. Dreadful. I hope he finds his way soon. The closest thing to a Bernard Herrmann of our time should do better than this.

david g

I feel this is one of Howard Shore's best film scores. However it is not for everyone. It is a very good collaborative venture between Mr Shore and the Attar family. Together these artists have woven a musical palette that is certain to enthrall Shore fans. The running time of the CD is just under sixty minutes.

Howard Shore is one of the master film composers, because instead of using music to complement the action onscreen, he uses it to remind us what's going on in the heads of the characters during their actions.

Take that approach with a character whose mind is broken, and you have "The Cell." Shore's collaboration with The Master Musicians of Jajouka is chaotic, and you absolutely can't hum along with any of it, but it fits the film. In other reviews, people disagreed with equating Middle-Eastern music with evil. CONTEXT is important: in "Navy Seals," it would be a racist soundtrack. In "The Cell," It augments the mood of disorientation and fantasy central to the plot.

Much of the film takes place inside Stargher's brain, so the score sets us adrift in a terrible place with few melodic anchors. We aren't given a comfortable, reassuring melody until tracks 8 and 19. One drawback is that repetition and long pauses don't transfer well from film to casual listening.

I wouldn't recommend the soundtrack for those seeking catchy, easy-to-remember passages. Also, young children may find the dischord and sudden crescendoes scary. Shore has successfully approximated the sound of fear and rage entwined.

If you have seen "The Cell" - and liked it, like me - then you probably couldn't help but notice the distinctive music that played throughout. It was stark, it was intense, and it interspersed with the scenes so well, you would think that a great musical soundtrack was normal in real life. This soundtrack is not disappointing. Howard Shore did a fantastic job at orchestrating the music and composing it. My favorite track (as well as my friends') is "The Drowning" because there's some *very* festive clapping going on, and in the scene in which it plays, I can honestly say I thought Catherine and Carl were going to do a little dance...but alas, it didn't happen. So anyways, if you were entranced by the brilliant sounds in the movie, you will not be disappointed by this CD, it's haunting, entertaining, and a great listen. Don't miss out.

Originelle, eigenständige, zumindest konzeptionell hochrangige Musik entsteht nicht selten zu künstlerisch minderwertigen Filmprodukten. Dieser kunterbunte Traumschmus ist gelackt, inhaltlich eine desperate Zurschaustellung von erzählerischer Unfähigkeit, aber immerhin war Howard Shore mit im Boot. Ich bewundere seinen Ansatz, auch wenn mich das Ergebnis nahezu kalt lässt. Ein traditionsreiches marrokanisches Ensemble vor ein Orchester zu setzen und diese beiden Klangwelten eine Durchdringung aufzuzwingen, was im ersten Cue zu einer etwas nervtötenden Kakophonie gerät, hat Charme. Shore wurde durch den Freejazz-Erfinder Ornette Coleman auf die Formation aufmerksam, und da "The Cell" entweder in der Wüste spielt oder im Kopf einer Figur, passt das ganz gut. Vor allem ist die Klangwirkung phänomenal, zumindest in den Stücken, wo die Verbindung ausprobiert wird. In den meisten Cues verzichtet Shore auf die Marrokaner und bietet mal mehr, mal weniger erbauliches Spannungsgewabbel. Die Klangwelt des Orients hat hier wieder mal mit Rauschzuständen zu tun, mit der Entrückung, der Ekstase - und schon schwant mir, dass das vielleicht nicht ganz so originell ist, wie ich anfangs vermutet habe. Shore persönliches "Altered States" ist streckenweise lahm und neutralisierend, dann wieder aufwühlend, auffallend, aufwallend - doch das immer nur für Sekunden. Diese Mixtur reizt mich leider nur taktweise. Wer das Ungewöhnliche sucht, darf zugreifen. Ich halte allerdings sehr viel mehr von "Panic Room" oder "History of Violence".

Howard Shoreさん、はじめての経験です。The Cellを見てからずっと探していました、じりじりするような感覚は無二。