2023-10-30 16:25:42
That the film adaptation of Blue Beetle turned out to be a bit of a flop is certainly not due to Bobby Krlic’s score. But this only makes things better to a limited extent.
First of all, it should be said that if you like the basic MO of the Brit Krlic, i.e. you can appreciate the atmospheric work of his electronically alienated dark ambient and drone soundscapes per se, too Blue Beetle (apart from the accompanying film images) runs well as (fragmentary) mood music and you should enjoy the detailed 79 minutes (even without the attached contributions from Damian Castroviejo and Juventud Crasa).
Even then, Krlic’s performance here feels for long stretches like routine, off-the-shelf goods as generic business as usual – which would still be okay under the conditions mentioned at the beginning. However, this time the 37-year-old sprinkles ideas into his work as paradoxical, individualizing impulses that seem like eclectic adaptations of popular external impulses arranged on the drawing board of a marketing department.
That means: Right at the beginning there are a few Latin American tropes about pan flutes and tabla-like percussion rhythms, which appear and disappear because of their rapid appearance and disappearance without leaving any trace, like an arbitrary, half-hearted, inconsistent alibi concession to the ethnic character of the plot works. Later, neon-colored collages will appear again and again, which look like direct adaptations of any 80s-related scores (like Krlic’s own Paper Girls) seem (e.g. in spherical amazement The Cosmic Realm) while warming up eclectic room-isms (the Dune-suitable for shimmering drums Reyes House Attack about) or for example in Heart Atack practices the kind of melodic minimalism that one would imagine even unheard of under the slogan “sad ambient piano”.
A little works Blue Beetle always as if it had been generated from a formula box without any real authenticity. And while the heroic The Transformation narrowly misses the suggested superhero theme cliché Blue Beetle Although it also offers great moments – on its own, but not exclusively, if Stealing the Scarab creates nervous tension or Kord Tower Fight almost-metal guitars with massive drums nestle against an opulently dark orchestra and feel a bit cinematic Carpenter Brut sounds.
All in all, even with fan glasses, there is only a competent commissioned work that does not highlight any motifs and themes beyond the sound design, and only separates itself from the previous canon of Krlic’s work through its imitative ambitions, without further compromising the quality of Beef or Beau is Afraid to be able to reach.
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