As the piece progresses, so does the theme\'s ominousness, with the fading out of the theme proper in favor of towering hits by the orchestra and choir (and sometimes electric guitars) on the alternating chords. Warped and whispery synthesized sounds establish the otherworldly origin of the silver entity, while the theme itself, a constant unresolved pull between the V and VI chords, is an at times noble, at times menacing minor mode melody, often played by the strings and trombones. The album opens with the indisputable highlight of the score: a four-minute-and-a-half exploration of the Silver Surfer Theme. Apart from these moments, the score is content to play second fiddle, so to speak, to quirky scenes of power exchanges and foreboding passages of malevolent peace offers. One can\'t fault the composer: with Superman Returns, Ottman has proven he can write grandiose moments for orchestra and choir, and he does here a few times, when the storyline allows.
FANTASTIC 4 RISE OF THE SILVER SURFER MOVIE
While the trailer to the movie paints a picture of epic battles and über-villainy, the music shows the story for what it really is: a relatively small-scale conflict, more personal than exterior, with plenty of double crosses, stratagems, and introspective moments. What is surprising, though, is the reach of the score.
It should come as no surprise, then, that the sequel to Fantastic Four, Rise of the Silver Surfer, boasts an amazing theme. From his compelling Germanic themes in Apt Pupil to his emotional redemptive melody for the personal side of Superman, from his seductive theme for Sebastian in the rejected score to Cruel Intentions to his fun and adventurous Fantastic Four Fanfare, Ottman rarely fails to deliver the goods on that front.
I don\'t think criticizing Ottman\'s talent for melody writing is even feasible at this point.
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