Night Shyamalan. The score was composed by James Newton Howard.All music is composed by James Newton Howard.No. Title Length 1.Airbender Suite 11:16 2.
![]() Jonathan Broxton of MovieMusicUK also gave it five stars, stating that Its constantly pleasing harmonics, interesting orchestrations, and powerful and heroic themes are thoroughly enjoyable from start to finish, making it one of the most satisfying musical experiences from 2010s summer season. James Southall of Movie-Wave gave it 4 stars. Tom Hoover of ScoreNotes gave the score a rating of 9.510, stating that As far as collaborations go -- this one is the best of the lot between James and M. The Last Airbender 2010 Soundtrack Full Choral ElementsJon Broxton, though, says this: There has been quite a bit of criticism aimed at Lakeshore Records for apparently not licensing the full choral elements heard in the film for release on CD; having seen the film, I can honestly say that whatever choral elements exist in the film are not especially missed on the CD release, and the final cue Flow Like Water sounds exactly the same here as it does in the theater. If Magazine. Archived from the original on September 16, 2010. Its buildup over waves and waves of the descending string lines is so patient, so flowingly beautiful that its massive payoff, finally reached at 3:45, ranks among the most ecstatic moments Ive ever heard in a film score. If you are not a member yet, please subscribe now: Subscribe for free. I hereby explicitly acknowledge having taken notice of the processing of my personal data as described in the Terms of Use. By all accounts, The Last Airbender is an awful film (Roger Ebert gave it half a star out of four and called it an agonizing experience in every category I can think of and others still waiting to be invented - enough to convince me not to see it), but the worse the film, the better Howards scores tend to get (from the functional-at-best score for the brilliant The Sixth Sense, to the wonderfully subtle music tied to the clunker that is Lady in the Water), so that should be good news for JNH fans, no If theres any one genre that Howard has proven himself a master of above all else, its fantasy. From his breakthrough action score to Waterworld via his surprisingly large-scale Disney animated efforts to more recent stuff like The Water Horse: Legend of the Deep, Howard never fails to deliver in this area (with the possible exception of the underachieving Peter Pan). In scope, The Last Airbender eclipses all of those previous efforts, boasting the largest amount of those extended, flowingly harmonic moments of full-ensemble grandeur (a JNH specialty) ever to be collected in a single score. If you thought cues such as Tarawa from Snow Falling on Cedars, The Crystal Chamber from Atlantis: The Lost Empire or Beauty Killed the Beast V from King Kong were the ultimate in choral and orchestral majesty, wait until you hear Flow Like Water here.but Im getting ahead of myself. ![]() Sadly, The Last Airbender is inferior on both counts; its themes are less obviously attractive, and its album lacks narrative flow - only one of the reasons the album represents the score extremely poorly, but more on that later. For these reasons, The Last Airbender is not quite Lady in the Waters equal, though it remains a close second. Two obvious themes occupy the ranks of this score, with several less clearly defined motifs buried in the underscore. ![]() The simplistic progressions allow this theme to be manipulated much in the way the main theme from Lady in the Water was, from staccato pounding during action sequences to softer underscore to those aforementioned flowing moments of majesty; however, this motif is neither as memorable nor as interesting as that from his 2006 career highlight. The second theme is perhaps the most obviously engaging on album and leaves the greatest impression afterwards, despite only appearing in two almost identical presentations towards the end of Airbender Suite and in the middle of The Blue Spirit (as well as in a disguised form in We Are Now the Gods). Its a big, bombastic march, full of portentious brass and ripping snare and so over-the-top in its scope as to seem almost pompous. In that respect it might come across to JNH collectors as a darker variant on the more brightly swashbuckling adventure themes from Waterworld, Atlantis: The Lost Empire, Treasure Planet and the like. In its two extended presentations it moves into a percussion-heavy interlude of rising chromatic notes, complete with choral chanting; truly apocalyptic stuff and tremendously enjoyable. The Last Airbender 2010 Soundtrack Series Of StringOther than that, there is a third motif that appears in the scores many grand harmonic moments as an underpinning ostinato: a flowing, descending series of string notes that seems to represent the element of water (curious that none of the other three elements receive thematic attention, though). This idea actually gets more album time than the other two; despite this, a fairly significant amount of The Last Airbender transpires without any theme being played. JNHs harmonic sense is fortunately keen enough to keep interest levels high despite this, but it does slow the album somewhat. There are two highlight moments on the album that go into lengthy exploration of thematically unrelated, but nevertheless striking melodies - melodies that could, perhaps, be further developed in a potential sequel score (though critical reception has been so poor that that seems rather unlikely). Firstly, there are the first few minutes of Airbender Suite, which introduces a singular theme of (what else) grandeur that recalls David Arnolds Stargate. Then theres the last two minutes of We Are Now the Gods, which goes into a chord progression so simplistic, Hans Zimmer could have penned it - but JNHs gentle choral arrangement lifts it to something close to exquisite. And then theres the final cue.oh, that final cue. Ill go ahead and say it now: Flow Like Water is the best single piece of music James Newton Howard has ever written.
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