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Superman Returns | 
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| Creators: John Ottman, Damon Intrabartolo, The Hollywood Symphony Orchestra
Label: Rhino / Wea
Category: Music
List Price: $18.98
Buy New: $9.99
You Save: $8.99 (47%)
New (35) Used (15) from $5.49
Rating:  60 reviews
Sales Rank: 72739
Format: Enhanced, Soundtrack
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 77654
UPC: 081227765422
EAN: 0081227765422
ASIN: B000FMGTTE
Release Date: June 27, 2006
Availability: Usually ships in 1-2 business days
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| Tracks:
| • | Main Titles | | • | Memories | | • | Rough Flight | | • | Little Secrets/Power Of The Sun | | • | Bank Job | | • | How Could YOU Leave Us? | | • | Tell Me Everything | | • | Youe Not One Of Them | | • | Not Like The Train Set | | • | So Long Superman | | • | The People You Care For | | • | I Wanted You To Know | | • | Saving The World | | • | IN THE HANDS OF MORTALS | | • | Reprise / Fly Away |
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| Editorial Reviews:
Amazon.com
John Williams's theme for 1978's Superman remains one of the most famous of the '70s, so it's both obvious and a little weird that it would feature so prominently in the score for Superman Returns: Why would director Bryan Singer and composer John Ottman so willfully compare themselves to the earlier movie? Not only does a turbocharged version of Williams's theme ("Main Titles") open the album, but the "Behind the Scenes: Superman Returns Score" featurette that's part of the CD's bonus enhanced section is all about the orchestra performing the 1978 theme. Ottman's own work thus has to unfold in the shadow projected by Williams, which is a bit unfair since, while the new score isn't revolutionary, it delivers all the pomp, triumph, and vaguely atmospheric choirs that are now de rigueur in Hollywood action films. Ottman, of course, is used to dealing with superheroes (he wrote the scores for X2: X-Men United and Fantastic Four ), but this time around he's had to reflect the essentially noble nature of his main character, and so he's come up with themes that reveal even more pomp, pathos, and atmospheric choirs than before. It's not what you'd call subtle, but it does the job. --Elisabeth Vincentelli
Album Description
Stunning original score for the hotly anticipated Warner Bros. Pictures epic feature film Superman Returns.
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| Customer Reviews: Read 55 more reviews...
 Amazing...up to par with the original.... March 5, 2008
With all honesty, I had never been a real fan of Ottman's works. His work always seemed to be centered around one major theme and then just a lot of noise. The only score I really liked by Ottman was Hide and Seek.
Needless to say, when I heard that Ottman was signed on to do Superman Returns I was freaked out. There was no way they were going to kill off Mr. Williams' theme (if they did, there went all hope for the score and the movie) and could he really adapt from it?
Quite simply..John Ottman blew me off my feet. Captured the heart and soul of the film and Superman himself. The choral work Ottman brought out was just simply incredible! The best thing about it, is Ottman didn't get nervous about pleasing the crowd by using the theme constantly, for tradition's sake or whatever, Ottman not only mustered up the guts to write for this film but also followed his musical instincts....and bravo! So many re-done films or sequels overdo the themes.
This is most definitely his finest film score and one of my absolute favorites. Full of excitement, sorrow, inspiration and heroism...all of the attributes a score needs to represent the Man of Steel.
A Blending Of New And Old May 23, 2007
1 out of 1 found this review helpful
With the return of the Man of Steel to film screens after almost twenty years also came the return of the classic John Williams' themes that made up the musical side of the franchise. Composer John Ottman had some big shoes to fill with this score. I mean, it isn't easy bringing one of the best known film scores of all time into a new era. But Ottman proves himself with this score that not only pays homage to Williams but also adds on to those classic themes.
The score starts with a triumphant return of the Superman theme. The Williams' theme is given a super-charged feel that returns it to all of its past glory. Here is an inkling of what the score sets out to do with the themes from the original films. The Superman theme also appears here and there throughout the score, especially during a rousing moment during the space shuttle sequence (Rough Flight).
The classic love theme from the films is also present and it is here that Ottman really has his best luck with the Williams themes. The theme is much more subdued and even mature, as if to signify the relationship between Superman and Lois in this film. The theme makes appearances during the flying sequence (How Could You Leave Us?) and returns full force in the film's final scene (Reprise / Fly Away).
Another Williams' theme is the Krypton / Fortress of Solitude theme. In fact it is the first piece of music we hear since it appears at the start of the film (but isn't on the soundtrack release). The theme also returns briefly when Lex arrives at the Fortress (Tell Me Everything). There is also the brief appearance of the farm theme as well (Memories). Each of these pieces serves to tie together the franchise of old with the franchise of new.
Ottman's new pieces are the majority of the music and he fills into some big shoes. His rousing action themes (Bank Job, Saving The World) are terrific pieces of action score that, while they don't rival the Williams themes, serve as new additions to the franchise's musical history. Ottman also gives Lex Luthor a new theme as well (replacing the comical theme by Williams) that serves to give the character the menace that actor Kevin Spacey brings to the role.
But the true highlight of Ottman's original pieces is his more emotional pieces. The amazing music for Superman's flying into space after overhearing Lois (You're Not One Of Them) is the perfect example of Ottman's capabilities as a film composer to bring life and emotion to a scene. This theme also makes appearances in other areas of the score especially in the final scene leading to the finale (Reprise / Fly Away) and it is why Ottman is the perfect choice to bring the musical side of Superman back to life.
While the score is not the classic that Superman The Movie was, this score proves that one can mix new with old and get amazing results. Ottman might not be John Williams, but he proves he can fill those shoes and expectations. Superman Returns brings a classic character and a classic score into the 21st Century and lets hope their here to stay.
Super, Dynamic Score Full of Energy and Emotion February 21, 2007
2 out of 2 found this review helpful
John Ottman, who is certainly no stranger to the superhero genre, having composed the scores to X-Men 2, Fantastic Four, as well as the upcoming Fantastic Four sequel, outranks them all with Superman Returns. Of course, it is a daunting task to score a film of this calibre, especially picking up the slack of a classic John Williams score. The big question is, did Ottman simply re-use Williams' themes, as Alexander Courage and Ken Thorne did in Superman II, III, and IV or did he integrate the themes into his own original work? Thankfully, he did the latter. I conversed with John Ottman via e-mail about this score well in advance of composing it, in which he told me that the main idea for him was to attempt to match Williams' sound by providing music that would best suit the film. Now having heard it, there is no doubt that he not only matched Williams' sound, but also has his own sound and thematic material in there as well.
It is obvious that Ottman has a passion for Williams' 1979 score. For Superman Returns, Ottman brings back the main theme (of course), the love theme between Superman and Lois Lane ("Can You Read My Mind" theme), and the Krypton theme. For the new themes, Ottman created a sort-of family theme for the Kent family, an ominous theme for Lex Luthor, and an emotional, heart-felt theme for the man of steel.
The Hollywood Studio Symphony's rendition of the classic "Superman March" is flawless with just as much energy as the original LSO recording, if not more. As usual with Ottman these days, the choir has been a big part in his scores and with Superman Returns, this is definitely a huge part. The Kent family theme appears in "Memories", where Clark Kent first learns to fly when he was a young child. Lex Luthor's theme appears in "Not Like the Train Set", which features slithering strings and woodwinds. The action music is pure excitement, as in "Rough Flight", "Bank Job", "The People You Care For", and "Saving the World", all complete with brilliant brass lines and explosive percussion. There is a sense of Williams' writing style in the action music, along with Ottman's unique sensabilities. The emotional theme is the theme that takes up most of the running time, due to the storyline of Clark Kent returning as Superman, trying to put the pieces of his life back together.
With all that said, there could not have been a better score for this film than the one Ottman provided. He proved that he could not only edit the film, but score the film with originality, as well as bringing back a classic. Truly an outstanding addition to the Superman musical franchise.
Very good, but missing a couple of biddies January 17, 2007
4 out of 4 found this review helpful
Great opening score. I didn't think so at first, but I truly prefer this one over John Williams '78 score. It's cut down just a little bit though, but it's a bit faster, crisper, and better uses the snare drums - particularly during transitions within the score.
Only a couple of things missing:
1.) The Krypton theme as mentioned earlier
2.) Superman's standing ovation in the baseball stadium and Titan-tron view at the end of Rough Flight. Very uplifting. I almost wanted to stand up and applaud him myself when I saw the movie.
 Rough Flight January 13, 2007
2 out of 4 found this review helpful
I really loved Ottman's work on "X2" so him taking on "Superman" should have resulted in something special. Unfortunately what we get is less than stellar, and we get to hear a pretty poor treatment of Williams original "Superman" material.
A lot of the music we get is all themes from Williams original score which should have been a good thing, but Ottman decided to update it for the 21st Century, and apparently the best way to do that is to add choir to everything and try to make the music as sappy as possible. The Main Titles is almost note for note Williams' work but fans of Williams will notice how flat it sounds. Williams' march was thick and full, where as Ottman's version is dry and a slightly faster tempo than the Williams version. I know it sounds like something that shouldn't matter, but if you're fan of the original score it just sucks you feels so shallow
One of the many criticism that is usually thrown at Ottman is the fact that you can feel the temp music in his movies and in this score not only do you feel it, but it completely sucks you out of any enjoyment there is to be had since you keep asking yourself which Goldsmith score you first heard a certain cue on the album from. Much like Elfman John Ottman is a huge filmmusic geek and also like Elfman he does little homage to his biggest heroes all the time. Be it the late great Goldsmith, Horner, or in this movie a lot of Williams. There's nothing wrong with doing a tip of the hat to your favorite composers, but when you get so close to them that it becomes difficult to tell where your original score begins and theirs end, that's when we have a problem.
Another thing that bothered me about the score was the overuse of the choir. Every little thing in the movie requires choir which is just silly. When the camera pans from left to right we hear some pretentious boys choir, and when Superman is flying around we hear loud male choir. Ottman used the choir perfectly in "X2" but here he just goes way overboard. The one thing about the choir that drove me nuts was how he infused with the infamous Superman march. It just makes it sound cheesy that you cringe when you hear it. The music he plays when Superman is hovering above the earth, and for the moment when he is recharging also borders on pretentious and melodramatic. Hopefully Ottman will get it right next time
If this is your first musical intro in the world of "Superman" then you'll probably applaud the score, but if you're familiar with Williams brilliant score to the first, then it's best to stay as far away as you can from this. Ottman has seen better days that's for sure
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