2:22 is an intriguing new film from director Paul Currie, and revolves around a mystery concerning patterns, and their impact on a burgeoning romance.
The main character, Dylan (Michiel Huisman – ‘Game of Thrones’), is an Air Traffic Controller with a natural gift for seeing patterns, being able to manage complex problems and react intuitively to them. After a near miss between two aircraft that he is held accountable for, he is suspended. In the ensuing period meets an art curator, Sarah (Teresa Palmer – ‘Hacksaw Ridge’), while finding himself becoming obsessed with a number of events that appear to be an ominous growing daily pattern…
The film works as a mysterious, sci-fi, metaphysical, and ultimately romantic examination of our connection between each other and the universe, and has much to recommend it.
One of those things is the score by Lisa Gerrard (of Dead Can Dance), and James Orr. Gerrard has worked on many well-known projects before such as ‘Gladiator’, and has worked previously with Orr on many films, such as the Screen Music Award Winner, ‘Burning Man’.
Gerrard and Orr have created a great mix of organic and synthetic sounds, which merge to give a sense of mystery and an ominous moodiness to proceedings. Throughout the film, the score definitely pulls the viewer deeper into the plot and heightens the sense that something strange is happening, while stylistic link draw these elements together.
Where this works best is when the instrumentation is kept fairly minimal, utilising deep synth pads, noises, piano, and voices. With the score creating more mystery and adding depth, the viewer is kept on edge as the music underpins the confusion and soul searching of the characters.
In some ways, the best parts here remind me of John Carpenter’s work, which is a compliment, and is equally as effective and complementary to film as Carpenter’s.
Where the music within the film falls down is when it takes a turn to more song orientated material, which is in the dull ‘indie/hipster/Coldplay’ mode. It jars somewhat and pulled me out of the story. This is a shame, as all the other music is so well placed and carefully sympathetic to the image.
Overall, this score is excellent and Lisa Gerrard & James Orr have done a great job in tapping into the underlying emotions of the story and how the characters become more unsettled as the film progresses. One to look for!