When you first hear the positively absurd premise for The Great Wall, your mind will naturally jump to one-of-two disparate conclusions. Either it will be so-bad-that-it’s good, or it will be a great, albeit batshit crazy, popcorn flick. There’s seemingly little room for anything outside of that binary. After all, this is a film about Matt Damon as an Irish (I think) mercenary teaming up with an army of colourfully attired, bungee jumping power-ranger lookalikes, in order to battle mythical lizard creatures that are trying to scale the Great Wall of China. I’ll give you a second to re-read that crack-pot rambling. Go on. Take your time.
One can only assume that this is loosely adapted from a collection of incoherent delusions, found scrawled upon an asylum wall in the author’s own shit. Which sounds promising as hell to me! Oh and it also has Willem Dafoe in it! So how can this be anything but majestically entertaining?
There aren’t many icons in the realm of film scoring. There are definitely loads for those with a specialist interest, but to the general public there’s only a handful. Of that handful, Hans Zimmer is absolutely one of the most diverse and influential. In the last couple of decades, nobody has had more of a pronounced presence on the film industry in terms of music. Constantly establishing new trends, and scoring for some of the biggest blockbusters and directors around, Zimmer has been able to solidify his status as a modern day idol. His work has become instantly recognisable and is constantly being imitated. His horde of protégés (ranging from Game of Thrones’ Ramin Djawadi, to X:Men First Class’ Henry Jackman) dominate blockbuster franchises and he has even managed to change the way that trailers are scored thanks to his now infamous Inception horns.