Thomas Newman - The Adjustment Bureau (Original Motion P...

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These songs make such a difference in the movie. They are so noticeable, which cannot be said for every song in a movie. Listening to this cd, I can see each scene that they are played during. Love the songs, absolutely love them. They make an already great movie even better. Each song has such personality, you can really feel what they are about.

I have every score Thomas Newman has composed, and I've never been disappointed. I do like that he seems to have maybe gone back to his roots for this one. I hear a touch of Phenomena, Unstrung Heroes, and The Horse Whisperer in this one. He has been shafted too many times at the Academy Awards. This will certainly get him nominated, and I sure hope they don't overlook him anymore.

The last time I watched this movie (it was my third viewing) I noticed something. When I watch a new movie, I'm always looking forward to hearing the score that comes with it, and when I watched The Adjustment Bureau, I could hear traces of Finding Nemo in the music (particularly in strings and brass). I didn't know that it was Newman who wrote the score, though! I find it interesting that composers have pieces of music that they stick to, and it's signature to them. I've found recurring instruments and progressions in scores of my other favorite composers, and I enjoy discovering their tastes. This score, I think, is perfect for the movie. All the tracks have a quality of sound that fits the film.

While this is not one of his best scores, it deserves five stars for the risk he took: stepping outside his "normal/elegant" realm. This score is unlike many of which he has produced. It encompasses innovative rhythms (and sounds) with plaintive string lines --- all of which are approriate for this upcoming science fiction thriller. The gem of this score is "Elise" --- it has an evocotive whimsical feel that will keep you wanting more. This score is further proof of his genius, and flexibility across music genres.

I like the different take on Newman's score, which resembles the usual work of John Powell, the man behind the Bourne series and Green Zone. Newman's risky take on his new sound proves that he is a great composer, willing to adapt to any genre.

This isn't the typical Thomas Newman score, with that wonderfully vague Newman-esque sound, so it took me a few listens to get past that, but once I did, I really liked the music. (Haven't seen the movie yet). So it's a testament to this composer's ability to shape-shift, definitely... but if you're looking for a "Road to Perdition" type of sound, this isn't that sort of score. So I liked it, definitely, but it's not one of my all-time Newman favorites. Still excellent work tho.

Thomas Newman delivers without fail. While he favors chords and specific instruments that are signature to him, he also reinvents himself. There are moments when you hear Road To Perdition or The Salton Sea for example but mostly you will hear The Adjustment Bureau which is exciting because it's fresh and interesting. The thought of Thomas Newman writing suspense doesn't fit quite right but he pulls it off wonderfully here.

I agree with Mason, I think Elise is the stand out track here. I also like The Substrate, Real Kiss, Four Elections, The Girl on The Bus, and None of Them are You. I also agree that this is not his best work, but he would have a lot to live up to for this to compare to the likes of Road to Perdition, Shawshank Redemption, and Finding Nemo. Overall, a very good collection of music with interesting textures and percussion, and evocative string lines. Between this and Josh Kramer's Only Memories album, I have all the inspiration I need to start writing my next book.

Thomas Newman is back after a lengthy break and playing on his offbeat strenghts to deliver what he does best; mystery and romance. He's using all his best moves in tracks like "Real Kiss" while integrating enough new ones to give tracks like "Inflection Points" some fresh bite! I prefer him when he's away from the thriller genre, and the film score on it's own is a better listen than in the context of the film (which was not at all bad, but not great) but there you go; a solid, tricky listen!

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