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La Strategie Ender a été ajouté à votre Panier
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La Strategie Ender Import

3 commentaires client

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Détails sur le produit

  • CD (23 octobre 2013)
  • Nombre de disques: 1
  • Format : Import
  • Label: Varèse - Colosseum
  • ASIN : B00ESNMY54
  • Autres éditions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 4.7 étoiles sur 5  Voir tous les commentaires (3 commentaires client)
  • Classement des meilleures ventes d'Amazon: 55.543 en Musique (Voir les 100 premiers en Musique)
  •  Souhaitez-vous compléter ou améliorer les informations sur ce produit ? Ou faire modifier les images?

1. Ender's war
2. Stay down
3. Battle school
4. Move it launchies
5. The battle room
6. Mind game part 1
7. Salamander battle
8. Mind game part 2
9. Dragon army
10. Dragons win
11. Bonzo
12. Ender quits
13. Mazer rackham
14. Enemy planet
15. Command school
16. Graduation day
17. Final test
18. Game over
19. The way we win matters
20. Ender's promise
Voir les 21 titres de ce disque

Descriptions du produit

STEVE JABLONSKI compose les musiques pour "La Stratégie Ender", un film de science fiction américain réalisé par Gavin Hood avec Harrison Ford, Asa Butterfield et Ben Kingsley interprétant les rôles principaux. Ce film sera dans les salles françaises à partir du 6 Novembre 2013.

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Commentaires en ligne

4.7 étoiles sur 5
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Commentaires client les plus utiles

Par VERONIQUE VOYARD le 31 mai 2014
Format: CD Achat vérifié
je me suis trompée, croyant avoir commandé le film...ils ont été très gentils à Record France et m'ont indiqué où l'envoyer pour qu'ils le reprenne
Rien à redire sur cet achat sinon que ce n'était pas assez clair sur Amazon et j'ai été induite en erreur!
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Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Par Fred87 le 3 janvier 2015
Format: CD Achat vérifié
j'avais vraiment bien aimé le film et son atmosphère, le CD est tout à fait remarquable, avec de superbes musiques qu'on ne se lasse pas d'entendre
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Merci pour votre commentaire. Si ce commentaire est inapproprié, dites-le nous.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
1 internautes sur 2 ont trouvé ce commentaire utile  Par Galadrielle le 4 janvier 2014
Format: CD Achat vérifié
Cette b.o. est sublime. Ce compositeur est vraiment doué pour nous imprégner de sa musique même quand celle-ci est finie.
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 44 commentaires
13 internautes sur 13 ont trouvé ce commentaire utile 
Best when heard with the volume up... 17 novembre 2013
Par Patrick Schaffer - Publié sur Amazon.com
Achat vérifié
I won't pretend to be an knowledgeable as some of theses other reviews. I don't study composers, I haven't read the book, nor have I even seen the film yet. To be honest I bought this score on a whim. I find that I am able to study better when there is music playing in the background.

When in public, I normally keep my audio levels low so as not to bother anyone else. I only need music loud enough to keep my subconscious in check so that my mind does not wonder (squirrel), and ear buds are not an option for me. As a result, when I first played this score I was sadly disappointed. Because of the WIDE and dynamic range of volume that Mr. Jablonsky included in this score the audio in effect would cut out for me from time to time until the next section when the volume picked back up.

Listening for a second time at home, everything changed. At home volume is less of a concern, I am no longer constrained by the possibility of bothering someone with my music selection. When I could actually hear the intricate details of each song, finally able to 'see' the beauty of the work I knew that my whim of a purchase was well made.

Overall a emotionally diverse score with a dynamic range of volume that, personal listening habits aside, actually adds to the experience. Just be sure to listen at a volume where you will be able to appreciate the lows as well as the highs. 4.5 rounded up to a 5 because Amazon only seems to deal in whole numbers...
16 internautes sur 17 ont trouvé ce commentaire utile 
Ender's Game - Original Score 22 octobre 2013
Par JMM - Publié sur Amazon.com
"Ender's Game" is one of the most well-known and beloved books in sci-fi literature. The movie adaptation requires and deserves a worthy soundtrack - and I think composer Steve Jablonsky has delivered something memorable. There are some beautiful melodies in the soundtrack, my favorite of which can be heard prominently in "The Battle Room" [Track 5]. Other cues have an epic quality - it's hard for me not to get pumped up after hearing a track like "Dragon Army" [Track 9].

For the most part, the soundtrack treats the movie as an action thriller. There's not much in the score that sounds particularly reminiscent of sci-fi, nor is there much world-building musically speaking.

I love Steve Jablonsky's work on the Transformers franchise. "Ender's Game" feels like a very similar exercise. It seems Jablonsky hasn't deviated much from the formula that works for him - on the other hand, if it ain't broke...

[1] Ender's War
[5] The Battle Room
[9] Dragon Army
21 internautes sur 24 ont trouvé ce commentaire utile 
At the good end of predictable 11 novembre 2013
Par Jon Broxton - Publié sur Amazon.com
Format: CD
Ender’s Game is a science fiction drama based on the highly acclaimed, hugely influential 1985 novel by Orson Scott Card. In the years after a devastating attack on Earth by an alien race known as the Formics, the human race has devised a strategy to prevent future attacks: a battle school designed to discover and train massively talented children to control the Earth’s defenses – children apparently have the capacity to learn and adapt to new situations and technological advances better than adults. Ender Wiggin (Asa Butterfield) is one of these talented children, and the film follows him after he is chosen to take part in the elite military program by Colonel Hyrum Graff (Harrison Ford), as the threat of a second attack by the Formics looms ever larger. The film, which is directed by Gavin Hood and also stars Ben Kingsley, Hailee Steinfeld, Viola Davis and Abigail Breslin, has some important points to make about the nature of war, manipulation and propaganda, and is visually stunning, but prior to its release became embroiled in controversy following the revelation about some of Card’s political beliefs, and may have suffered slightly at the box office as a result, leaving the possibility of an ongoing franchise doubtful.

The score for Ender’s Game is by Steve Jablonsky, who came onto the film fairly late in the game as a replacement for the film’s original composer choice, James Horner. I’ve been highly critical of Jablonsky recently for being the least interesting of the graduates from Hans Zimmer’s Remote Control organization; while I still think his scores for Your Highness and especially Steamboy range from pretty good to excellent, his work on more recent action or sci-fi films like Pain & Gain, Battleship and the last couple of Transformers movies has been pretty risible – uninspired, droning nightmares that annoyed me as much as they bored me. One of the main reasons they annoyed me is because Jablonsky is clearly a composer of considerable talent who, when given the opportunity, can write powerful, exciting, intelligent film music. However, for whatever reason, in the past several years he has not been given this opportunity, and has instead been asked to write music that is functional at best, but allows for no deeper development, no underlying emotion, and no intellectual comment on the film he is scoring. Predictable, obvious, wallpaper.

Thankfully, more than most of his recent scores, Ender’s Game shows us a little bit of Steve Jablonsky at his best. The opening cue, “Ender’s War”, sets the stall out for much of the rest of the score: it’s a familiar set of ingredients, comprising a large orchestra, a repeated string ostinato undercurrent, synth enhancements, and a large percussion section, that eventually emerges into a powerful brass theme, augmented by choir. There is a main theme, thankfully, a noble, haunting, slightly melancholy melody which gets a significant performance in the cue’s second half. However, unlike some of his and his contemporaries’ other scores which share a similar sound palette, Ender’s Game shows just the merest hint of something a little more substantial, building on the intelligence of Card’s original story, and allowing for something a little more thoughtful to emerge.

“The Battle Room”, for example, plays less like an action sequence, and more like a ballet, with Everton Nelson’s solo violin giving the piece a sense of elegance and movement; this foreshadows Ender’s idea that successfully existing in zero gravity is less about traditional points on a compass and more about your sense of yourself relative to others, and later comes to fruition during the satisfying “Dragon Army” and “Mazer Rackham”. The two “Mind Game” cues, which occur during Ender’s unusual CGI dream sequences, have an ethereal quality to them through the increased synth presence, and occasionally have some quite disturbing vocal sound effects and processed dissonances, but are diminished somewhat by the predictable inclusion of a patented Zimmer horn blast. Later, one of the few moments of downtime comes via “Ender Quits”, a smaller-scale, intimate piece that brings in some more soothing synth samples and electronic chimes to underscore Ender’s crisis of conscience, as well as his enduring relationship with his sister.

That’s not to say that Jablonsky doesn’t slip into old habits occasionally; cues such as “Stay Down”, “Move It Launchies”, the first part of “Salamander Battle”, and most of “Final Test” revisit the same old drum loops, endless ostinatos, grinding synth effects and chaotic orchestral hits that the likes of Battleship suffered so much from, while other cues like “Enemy Planet” combine the style with large sections of little more than eardrum-bursting noise. Producers surely must have realized by now that this style of music is becoming a cliché, especially in big budget action and science fiction films. When mainstream film critics are noticing them, and when Zimmer himself rolls his eyes when he hears his Inception sound ripped off in yet another score or trailer, clearly something has to change.

However, towards the end of the score, as the focus of the film shifts away from action and militaristic endeavor, and more into the realms of philosophy and morality, Jablonsky’s score shifts with it. He introduces a strong new theme towards the end of “Dragon Wins” – a dark and brooding brass motif – but it doesn’t come back for quite some time. It finally re-appears during latter part of “Command School”, when the Dragon team is reassembled for its final assault on the Formics, and during the finale of “Final Test”, which sees the Dragon team in its finest hour. “Game Over” revisits the ‘Ender in Crisis’ motif from earlier in the score to underpin the terrible revelation of the film’s finale. A Caroline Dale cello solo anchors the tragedy and torment of “The Way We Win Matters”, before returning to the more exotic ‘Mind Games’ material, which carries through into “Ender’s Promise” where it mixes with some emotional, ghostly choral writing which is very effective in context. The finale of “Ender’s Promise” and the conclusive “Commander” provide the most powerful performances of the main theme, bringing the score to a rousing close.

Don’t go into Ender’s Game expecting anything close to the quality of Steamboy, or even the first Transformers or The Island (which, in comparison to his more recent scores, sound more and more like masterpieces). This is still an RC-sounding score through and through, with all its hallmarks, downfalls and issues. If you have an aversion to that sound, that style of scoring, then move along. There’s nothing for you here. However, for me, Ender’s Game is the most satisfying music Steve Jablonsky has penned for several years, in terms of the design and structure of the score, the intelligent application of themes, and some straightforward contemporary action, and is worth giving a second look to for those who might have otherwise automatically dismissed it.
6 internautes sur 7 ont trouvé ce commentaire utile 
Definitely worth a listen 7 novembre 2013
Par Un client - Publié sur Amazon.com
Achat vérifié
Rarely does an orchestral soundtrack so perfectly capture the spirit of a character and a film. Jablonsky manages that with this soundtrack. Soaring strings accompanied by striking choir backing and great use of horns. The soundtrack, in my opinion, makes the movie; without it the film flounders, but with it the moviegoer can really understand what is going on in Ender's mind. Couldn't recommend the soundtrack enough.
3 internautes sur 3 ont trouvé ce commentaire utile 
military sci-fi, with a touch of the whimsical 17 novembre 2013
Par Enjolras - Publié sur Amazon.com
Achat vérifié
For a military sci-fi movie, this soundtrack isn't actually all that militaristic (at least compared to something like Battlestar Galactica). In fact, what I really like about Jablonsky's approach is that there are lighter touches of fantasy or sci-fi/fantasy. Songs like the fantasy game perfectly encapsulate the oddness of the game in a sci-fi military story, which is just the contrast the soundtrack needed. And the track for the Battle Room really evokes the sense of wonder the students must have felt when they first drift in. If I had any disappointments with the soundtrack, it's that the character themes aren't particularly memorable. Definitely a good addition to sci-fi soundtrack collections.
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