RESIDENT EVIL - OST. My favorite soundtracks

Sometimes a well-written soundtrack can pull out a clumsy and flat plot, helps close one's eyes on the acting, and even makes you return to watching the movie. I like when soundtrack is matched to match the genre of the film and complements the atmosphere of what is happening on the screen.

I sometimes wonder how carelessly and thoughtlessly composers put hip-hop into the action movies or just fancy songs only to raise ratings. In conjunction with improperly selected music, the video sequence is perceived differently. And most importantly - something important is lost. No sense of naturalness. Therefore, I believe that a good soundtrack - if not half, then a third of success. This is the part that can focus the viewer's attention on certain scenes and even relive these moments with the main characters.

There are many worthy examples when OSTs become more beloved then the films themselves. But as for me, one of the most interesting copies is the Paul W. S. Anderson's "Resident Evil". The director invited to cooperation two influential figures in the music business - shock rocker Marilyn Manson and film composer Marco Beltrami. The music they created adorns the plot and action scenes, signals the impending horror that awaits the heroes and quickens the pulse. It is difficult to imagine the best variation for a film on a zombie apocalypse, in particular - for this movie.

The film features only instrumental compositions written to match every scene. I want to say that both Beltrami and Manson complement each other's music in amazing ways. And writing industrial compositions inspired by mystical mystery, especially if you listen to them separately.

I heard the soundtracks for Resident of Evil long before watching the movie itself. I will say more - I did not even have an idea that they are involved somewhere in the cinema. I got acquainted then only with the work of Marilyn Manson, and these were only four compositions. But the film became my favorite from the whole series only because it has great music.

My first acquaintance with Marilyn Manson's music happened to these soundtracks. As I understand it, Marco Beltrami worked more on sound effects, but he perfectly complemented the musical component. Neither in one picture from the whole series there was no similar symbiosis of sound audio accompaniment. This is a good example of when the audio tracks themselves, individually, can draw a sense of imminent encounter with the monsters of Umbrella Corporation in mind.