Prominent rolling timpani’s, and an energetic collection of all kinds of metal things to hit with drumsticks (“No Vault Of His Own”). That achievement stems from the percussion section. Giacchino chose to stick mostly to a more traditional, orchestral sound-palette for the film, ditching the synthesizers of “The Amazing Spider-man” soundtracks, but still manages to distance himself from Elfman’s trilogy. Because the whole album is really that: A great deal of fun.
If one were to describe “Spider-man: Homecoming” in one word, it would be “fun”. Although to be fair, this could also be due to the MCUs tendency to not care for overarching character themes.īe that as it may, scoring-duties for the film went to Michael Giacchino, who previously wrote the soundtrack for “Doctor Strange” in 2016 and what we got now is truly a worthy successor to the already splendid track record of Spider-Man soundtracks. Tom Holland being the title character, after Tobey Maguire and Andrew Garfield in the previous versions. The composer of that film, Henry Jackman did write a short motif for Spider-Man, but it proved itself so boring that it got thrown out of the window for the first solo-movie of the all-new Spider-Man. A worthy and fun successorĪlas, the film flopped and Sony had to restart the franchise once again and turned to Marvel Studios, working out a deal which allowed Spidey to appear in the Marvel Cinematic Universe, starting with the mentioned appearance in “Civil War”.
A brilliant mix of indie-rock tendencies, aggressive dubstep and more traditional orchestral writing full of amazing themes and great interplay.
On the plus side of things, we got, what yours truly considers to be the best superhero-score to date. Then Horner left for the sequel and Hans Zimmer entered the stage with his super-band, the “Magnificent Six”, and because thematic continuity is for sissies, Horner’s stuff got ditched. It may have lacked any memorable material for the villain, but the catchy main theme and tasteful mixture of piano, orchestra, and electronics made up for it.
When Sony decided to reboot the series in 2012, James Horner took over the eight-legged baton and wrote, what essentially is kind of a “Best-Of Album” of “Hornerisms”, though without the danger-motif. This trilogy of scores, despite the third one still being unreleased due to the chaos on the cue-sheets, is probably the one which connected most with the masses, Elfman’s main theme being a fan favorite, supported by very strong villain themes, most notably the awesome one for Doc Ock. There was a whole lot of additional music by John Debney and others in the third film as well. Afterwards Christopher Young, who also wrote additional music for the second film, took over for “Spider-man 3”. Then came the Raimi-trilogy from which the first two entries got scored by the then go-to superhero composer Danny Elfman. In the case of Spidey, it was composed by Paul Francis Webster and Robert Harris.
Funnily, the most referenced theme is, just like with Batman, from a 60s cartoon-show. Musically, the web-slinger went through a whole gallery of composers and styles.
Well, technically it’s the second movie since this version of the character had its debut in 2016’s “Captain America: Civil War”, but one cannot be blamed for losing track of such things these days. No, it’s the first movie of the third iteration of the immensely popular character. But it wouldn’t be 2017 if it just were the sixth installment of one series. While Disney/Marvel are, in a way doing that, Sony Pictures rather wants to give us the sixth Spider-Man film. In a time full of comic-book movies, one would think that studios would pillage the vast amount of characters turning every single one of them into a movie. (Note: The following soundtrack review is based on listening experience alone and not on how the music works to picture.)