Uploaded February 2011 | Updated September 2026, 2 weeks ago
There is magic at work here. The magic is called good filmmaking and it becomes evident when you consider that all the individual parts of THE KARATE KID are essentially formulaic re-hashes of stuff we've seen and heard before. If you were to analyze it coldly, you would see a typical inspirational movie, the likes of which would barely be worthy of a second glance. And yet...when you watch the film, everything comes together so effortlessly that no amount of analysis seems able to distract from the inherent spirit of the picture. It's fun, it's motivational, it's moving. That's magic.
Initially, the project was to be scored by Icelandic composer, Atli Örvarsson, whose work has recently reached mainstream notice after several successful films done for Zimmer's Remote Control Productions. Fairly late in the production process, however, he was replaced by none other than JAMES HORNER, fresh from his work on AVATAR. Perhaps it's appropriate that HORNER, who is known for being self-referential, offers a very fresh sounding score for THE KARATE KID, even if the rushed schedule is evident.
When you reach the end of the album, you may be struck by several things. For one, not only is the score less blatantly self-referential than other JAMES HORNER scores (and no danger motif!), but it also feels like it came from the heart somehow. I mention this because even with a year to work on it, HORNER's score for AVATAR felt soulless to me. Somehow this occasionally messy rush job — with loops falling out of sync with the orchestra and some unfortunate autopilot tracks — felt more alive and authentic than AVATAR ever did. More excitingly, it makes me feel like perhaps HORNER is turning over a new leaf. Without a doubt though, THE KARATE KID is one of JAMES HORNER's strongest efforts in years and does wonders to support the unexpectedly great film re-make it's written for.
(tracksounds.com/reviews/karate_kid_james_horner.htm)
There is magic at work here. The magic is called good filmmaking and it becomes evident when you consider that all the individual parts of THE KARATE KID are essentially formulaic re-hashes of stuff we've seen and heard before. If you were to analyze it coldly, you would see a typical inspirational movie, the likes of which would barely be worthy of a second glance. And yet...when you watch the film, everything comes together so effortlessly that no amount of analysis seems able to distract from the inherent spirit of the picture. It's fun, it's motivational, it's moving. That's magic.
Initially, the project was to be scored by Icelandic composer, Atli Örvarsson, whose work has recently reached mainstream notice after several successful films done for Zimmer's Remote Control Productions. Fairly late in the production process, however, he was replaced by none other than JAMES HORNER, fresh from his work on AVATAR. Perhaps it's appropriate that HORNER, who is known for being self-referential, offers a very fresh sounding score for THE KARATE KID, even if the rushed schedule is evident.
When you reach the end of the album, you may be struck by several things. For one, not only is the score less blatantly self-referential than other JAMES HORNER scores (and no danger motif!), but it also feels like it came from the heart somehow. I mention this because even with a year to work on it, HORNER's score for AVATAR felt soulless to me. Somehow this occasionally messy rush job — with loops falling out of sync with the orchestra and some unfortunate autopilot tracks — felt more alive and authentic than AVATAR ever did. More excitingly, it makes me feel like perhaps HORNER is turning over a new leaf. Without a doubt though, THE KARATE KID is one of JAMES HORNER's strongest efforts in years and does wonders to support the unexpectedly great film re-make it's written for.
(tracksounds.com/reviews/karate_kid_james_horner.htm)
