Ha ha. This is the period with Jarre that disappoints me a bit. If someone can sit down and listen to any random sequence from this, NO WAY OUT or FATAL ATTRACTION and tell the difference, I'd be thoroughly impressed. You could hear him start really giving himself over to it even in FIREFOX, which ended up having one of the catchiest and most stirring orchestral themes in the last thirty years.
What's funny is that, in his association with Alan Howarth, John Carpenter, far from a trained film composer, repeatedly created intriguing, unique and satisfying electronic scores during the same stretch. It's even more queer as Jarre produced some fantastically lush orchestral scores sprinkled throughout those years.
With the movie itself, even so many years down the road, the Reagan-y Eddie Albert's queasy dream about his wife and the nuclear explosion still sticks with me.
I haven't watched the film in quite some time, but, like INCREDIBLE SHRINKING WOMAN or the 80's Zone iteration, I recall it being pretty 'murky'. Murky in that distinctly 80s way.
(And I'd be letting my fellow Peter Jason Spotters Club members down if I didn't mention his presence here.)
