Fabulously fantastic

Yes, he borrows from his colleagues: Hans Zimmer (Pirates of the Caribbean), Klaus Badelt (The Time Machine), Howard Shore (The Lord of the Rings - it is a piece to be the first chords taken directly from the Hobbit theme seem , and the rather simple themes to Tristan and Yvaine also remind strongly to it), and John Powell (Evolution) I was able to at first hearing to recognize directly, and even the old Batman movies (Danny Elfman) by sound (yes, the movies are thrashy but also funny;)) - but why should that be bad?

Especially at the locations where Ilan Eshkeri writes his own music and his style shines through, just then the score is in fact the best. Then Eshkeri moves to the full range: Sometimes scary hyperbole, but never too busy. "Lamia's Inn" perfectly reflects the tension of the scene, and it is hoped right to the resolution, there is harmony, as I have heard, "The Time Machine" no more beautiful since; and at the crucial points all sounds incredibly warm and powerful (the bass-heavy pieces chase me regularly shiver down the spine).

The greatest achievement Eshkeris on this CD, however, is perhaps another: How many basic topics using film composers? Hans Zimmer: One. Klaus Badelt: One. John Powell: A single. This theme is then pulled through the whole movie and endlessly varied, and it sounds mostly good - it just sometime lacks variety. And The Lord of the Rings does not sound so so fantastic because Howard Shore would so Eclectic, he can only ever play the whole orchestra and no longer come to rest.
Eshkeri however, has created all three very different topics in this movie: Septimus, star Yvaine and the "pirates") each have its own basic theme. and while Me evolution - it I can rely on - the topic is boring after the first half, has "Stardust" even too short! The motives are not boring, they get on the contrary not enough time and opportunities to properly unfold (the pirates) ... the best example of a successful application is still Yvaines "melody". Consisting of barely 8 chords, but is used very sparingly in the film (always fit!). Here, the entire piece is played only in the final, and out of harmony arc to end. Prior Eshkeri always breaks off in the middle (who knows the film, understands why), and creates a subtle tension: They want to finally hear everything, at last the happy ending of these few seconds to get (as indeed in the movie waiting for and hoping) , and the beginning every time you will be disappointed but then and left. Here are incredibly well connected Yvaine and their music.
And when you finally get in the end what you wanted, Ilan Eshkeri sat upon another and linked in "Coronation" of the two motifs on bombastic way together to a (literally) grand finale.

If Eshkeri it still manages to separate disharmony and to write more of his very own music by John Powell, then the next hit is perhaps not far off ...
A wonderful piece of film music, but - of course - unfortunately much too short)