![]() ![]() The score is a total achievement of ingenuity. “Come Recover (Empathy Fight)” is the expanded version of “Come Recover” on Tomorrows III. It repeats and reworks the same few themes: “Clair de Lune,” for instance, can be heard in “Deirdre Fight” and “My Life Without You,” in addition to its eponymous track on the score. Just listen to “I Have Been Watching”-Nina Moffitt’s vocals, so bare against saturated strings, are startling.ĭespite running an hour and 54 minutes, the score doesn’t lose coherence. #RANDY NEWMAN DISCOGRAPHY RAR FILE HOW TO#Eeriness is also afoot in the score Son Lux, better than most, knows how to make you shudder. ![]() On the contrary, blustering tracks like “The Fanny Pack” are brash reminders that you’re watching a true action blockbuster, as strings tinged with adrenaline and held by an addictive bassline bring comic bravado to a fight scene set in an IRS office. The dreamy piano theme of "Wang Family Portrait" foregrounds the film’s saccharine core, emerging in gentler moments: Evelyn’s family together, nostalgic gazes into the past, and visions of lives that could have been, in another universe. As Everything Everywhere All At Once snaps between zaniness, hilarity, darkness, and hope, so too does its soundtrack. The thrill of Son Lux’s score is in its audacious range. Their soundtrack becomes our conduit across the multiverse, transcending and melding worlds otherwise alien to each other: sci-fi and kung-fu, hot dog hands and Debussy, slapstick and sincerity, mothers and daughters. Explosively kinetic, Everything Everywhere All At Once seeks a dynamic score able to match its ferocity. Evelyn is tired of watching laundry tumble, of filing her taxes, of a path that has seemingly spun her in circles. Evelyn (Michelle Yeoh) is a middle-aged woman who is tired of her life: her daughter Joy ( Stephanie Hsu) scorns her, her husband Waymond (Ke Huy Quan) is readying a divorce, and the IRS is on her ass. Their sonic location, somewhere between creation and destruction, renders Son Lux fitting to score the swelling Everything Everywhere All At Once, a film by the Daniels-the duo of directors Daniel Kwan and Daniel Scheinert-that, too, disavows the conventional limits of creativity. ![]()
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