Composer Henry Jackman was tapped to create a striking, intrepid score for Captain America: The Winter Soldier starring Chris Evans, Robert Redford, and Scarlett Johansson. The film was #1 at the Box Office for the second consecutive weekend and is already approaching $500 million globally. In a departure from the Americana score reflective of the 1950’s in the first Captain America, Jackman’s modern score for this film captures the essence of the hero as a fish out of water in a corrupt modern day society.


1. “Lemurian Star” 3:06
2. “Project Insight” 1:29
3. “The Smithsonian” 1:36
4. “An Old Friend” 3:05
5. “Fury” 4:07
6. “The Winter Soldier” 6:24
7. “Fallen” 2:51
8. “Alexander Pierce” 2:58
9. “Taking a Stand” 2:07
10. “Frozen in Time” 3:52
11. “Hydra” 6:46
12. “Natasha” 1:12
13. “The Causeway” 2:41
14. “Time to Suit Up” 2:05
15. “Into the Fray” 6:05
16. “Countdown” 4:26
17. “End of the Line” 2:51
18. “Captain America”


What sucks about reviewing a score so long after seeing the film is that you have to reflect back on what made it work for you. The only real musical cue I can remember from the film is the repeated use of “Trouble Man”. Does that mean the score was generic? Maybe, but I like to think of it in another way. The music existed to keep you from listening to Alan Silvestri’s better score for the first flick.

The Marvel films lack any distinctive score when you compare to other classic superhero movies. John Williams, Danny Elfman and Shirley Walker knew how to build a theme and make their music part of the greater mythos. I grew up in the Williams generation, so I expect big musical cues when insane moments happen onscreen. I can tell you the difference between the Mine Cart Chase, Luthor’s Luau and Jabba’s Baroque Recital by HUMMING IT! I can’t hum anything from Captain America 1 or 2.

If anything, Jackman’s score works because it builds the world in which Cap dwells. It is the elevator music for those times that you have to fight rogue SHIELD agents. It is the music playing when Arnim Zola appears on a super Commodore. It is what it is and that isn’t good. But, the construction of the melodies are decent. In another film, this would be stunning.



Final Score: 80% – C

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