King Arthur

亚瑟（克里夫·欧文 Clive Owen 饰）与家人在战乱中失散，被人收养担任杂役工，但魔法师却预言他会成为神圣的英国君主，而亚瑟更是拔出了“石中剑”印证了自己的将来。当他看到国家的混乱现状，发誓要让整个大不列颠群岛脱离罗马人的残暴统治。于是他下定决心要建立一个全新的，充满和平宁静气氛的家园。亚瑟的骁勇善战和超凡的气魄令一些非常优秀的骑士为之折服，纷纷加入他的队伍，组织成著名的“圆桌骑士”。这些英勇的战士在亚瑟的带领下一路势如破竹，取得了令人骄傲的战绩。 骑士们遇到了同样受到凶残萨克森人的侵略“蓝军”——由贫民和流浪汉组成的游击队。为了战斗与他们的领导格温娜维尔（凯拉·奈特丽 Keira Knightley 饰）建立战斗联盟。当两个从前的夙敌携手共同奋斗后，又会发生怎样的故事呢？(By 豆瓣) Since Alan Jay Lerner wrote the libretto for the Broadway musical Camelot in 1960, presentations of the legend of King Arthur and the Round Table have tended to focus, as that version did, on the romantic triangle between Arthur, his queen Guinevere, and the knight Lancelot. Director Antoine Fuqua's 2004 film King Arthur, however, which was produced by Jerry Bruckheimer, who is known for big-budget action movies, is more interested in war than love; the three principals are shown on the poster (and cover of the soundtrack CD) in battle garb with weapons in their hands -- even Guinevere, who brandishes a bow and arrow. Prolific composer Hans Zimmer, then, has little reason to ape Frederick Loewe's stately Camelot music. Instead, he comes up with some typical epic movie scoring, meant to accompany grand armies sweeping through the landscape. The strings soar with anthem-like (and occasionally portentous) melody, a choir voices alarm or anticipation, and there is plenty of work for the timpanists, augmented by drum programming, to reflect those pounding hooves and marching feet. But there is also another register. When Zimmer isn't going for overwhelmingly loud effects, he's going for extremely soft ones, to accompany the occasional moments of intimacy and the funerals that must follow the conflicts. There isn't much attempt at period accuracy, but Moya Brennan turns up here and there, notably on the leadoff song, "Tell Me Now (What You See)," to give things an Enya/Clannad-like ethereal Celtic feel. Unlike most albums of film music, which tend toward brief cues, this one deals in longer segments (with joke titles like "Another Brick in Hadrian's Wall" and "Do You Think I'm Saxon?"), the six orchestral tracks ranging in length from five and a half to 11 and a half minutes. In practice, however, that doesn't make much difference to the listening experience, since each segment is really a suite with different brief sections meant to underpin a specific scene. Zimmer, a fast worker (as all busy film composers must be), certainly isn't coming up with anything new here, but, as usual, he is competent and efficient with his effects.