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The Last Days On Mars

Max Richter

Elias Koteas and Liev Schreiber star in Irish director Ruairi Robinson’s 2013 adaptation of Sydney J. Bounds’ short story about a research base on Mars that becomes overrun with biological agents that turn its crew members into zombies.

Acclaimed British composer Max Richter – renowned for his pioneering “documentary music” compositions merging orchestral arrangements and ambient sounds – works a variety of levers here, employing traditional orchestrations for maximum emotional effect (“Aurora Mars Mission,” “It’s Full of Stars”), embracing a techno-orchestral fusion for suspense (“Return to the Base,” “Do Not Open the Doors”) while elsewhere merging ambient and acoustic sound effects with loose orchestral and electronic instrumentation to underline the film’s discordant descent into alienation and chaos (“The Tunnel,” “The Return of Dalby and Marko” and the terrifying cacophony of “They Are Still Moving” and “Escape”). Fans of Jerry Goldsmith’s landmark score for “Alien” will find many familiar thematic evocations and variations.
The Last Days On Mars

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