Musical Score By: Marcelo Zarvos

Distributed by: Filmtrax

Reviewed by Melissa Minners


                In Cell, the science fiction horror film based on the Stephen King novel, John Cusack is New England artist Clay Riddell.  While talking to his son at the airport, Clay witnesses fellow humans become monsters after a mysterious signal is sent over the global cellphone network.  How, he and a few survivors must struggle to survive amongst the hordes of rabid killers as Clay struggles to locate his estranged wife (Clark Sarullo) and his son (Ethan Andrew Casto).

                The musical score of Cell was created by Brazilian composer Marcelo Zarvos.  A classically trained pianist and composer, Zarvos first gained notice in the film music world with his score for Kissing Jessica Stein.  Since then, Zarvos has become a much-sought-after composer for television and film, earning numerous nominations and winning Golden Globes for his work on the scores of The Affair and Ray Donovan.  Other credits include Enough Said, Brooklyn’s Finest, Sin Nombre, The Choice, Rock the Kasbah, American Ultra, The Good Shepherd and The Words.

                The musical score of Cell is a mix of strings, brass, piano, percussion and electronic sound.  Clay’s love for his son comes through in the soft piano tones found in Son on the Phone.  Bass drums crash, often accompanied by blasts of brass as Clay and his fellow survivors come in contact with the deranged humans turned into murderous savages.  Electronic sound is used to raise the hairs on the back of your neck as the survivors attempt to sneak around and evade those who want them dead.

                In addition to the horror cues of blasts of music and high-pitched sound, the score of Cell has that action feel – that race against time feeling.  The Cell Soundtrack features adrenaline-pumping score well-suited for the movie storyline.  Too bad that the movie tanked, because the score was spot-on and no doubt aided in heightening the emotions, action and horror of the film.


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