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Oblivion Soundtrack [ 2013 ]

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Jack goes back to his cabin on the perimeter. He plays this song on the record player.

A Whiter Shade of Pale

Procol Harum

Song Julia plays at the lake house. She tells Jack she loves this song.

Oblivion (feat. Susanne Sundfør)

Song during end credits.

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Oblivion (Original Motion Picture Soundtrack) [Deluxe Edition]

Given M83's cinematic inclinations, it's fitting that the French electronic musician would turn his hand to actual soundtrack work. But where Anthony Gonzalez's albums are usually reminiscent of the teen comedies of the '80s, his score for the apocalyptic Oblivion, a collaboration with Hollywood veteran Joseph Trapanese, trades synth-pop yearning for swelling strings and dark drama. The wispy chord changes of "StarWaves" hint at M83's signature moves, though, as does the contemplative piano of "Jack's Dream"; the epic "Oblivion," meanwhile, gives him a chance to show off his songwriting at his most arena-ready.

April 9, 2013 30 Songs, 1 hour, 53 minutes ℗ 2013 Back Lot Music

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It's Here: Stream All 17 Tracks of the M83 'Oblivion' Soundtrack Now

by Alex Billington April 4, 2013 Source: Mashable

"Breathe in the light and say goodbye." Well, this is the moment some of you have been waiting for. Back Lot Records has released a streaming version of M83's new soundtrack for Oblivion , including all 17 tracks (on the regular release) available to listen to in full right now. We originally featured the first "StarWaves" track , and felt it was worthwhile to mention this full release. Though I don't know how to feel about these early streaming releases, because at this point I'd rather wait to hear the rest of the score in the movie first, then listen to the rest of the soundtrack. But that's just me. If you're anxious to start listening to these songs right away without the visuals, this is your opportunity. From what I've listened to, everything sounds amazing.

Found below is the player (via Mashable ) to listen to full streaming version of the Oblivion soundtrack, which includes 17 tracks and the title song "Oblivion", feat. Susanne Sundfør. Here's the embedded album :

As you can see on the album cover, the Oblivion score is credited to both Anthony Gonzalez and Joseph Trapanese , playing as M83 . While it is available for streaming now, the M83 soundtrack for Oblivion in full will be released on April 9th from Back Lot Records. They also have a Deluxe Edition with 30 tracks.

Kosinski's Oblivion (also known as Horizons ) stars Tom Cruise as Jack Harper, plus Morgan Freeman , Olga Kurylenko , Zoe Bell , Andrea Riseborough , Melissa Leo and Nikolaj Coster-Waldau . Living and patrolling the breathtaking skies from thousands of feet above, Jack's soaring existence is brought crashing down when he rescues a beautiful stranger from a downed spacecraft. Her arrival triggers a chain of events that forces him to question everything he knows and puts the fate of humanity in his hands. Kosinski has developed this for years, with a writing credit along with William Monahan. Universal Pictures currently has Oblivion scheduled to open exclusively in IMAX theaters on April 19th . See the trailer here.

Find more posts: Cool Stuff , Movie News , Sci-Fi

15 Comments

Thanks, but got the CD preordered already! Not sure if I want to hear it before or after I see the film... I think after.

OfficialJab on Apr 4, 2013

This is exactly how I feel...

Alex Billington on Apr 4, 2013

Joseph Kosinski if not a fantastic film maker has great choice in the soundtrack of his films, although a lot of people didn't think Tron Legacy was amazing, I loved it for the atmosphere of the film and the score behind it just made it that more amazing. From listening to Oblivion's score I'm already so excited for the film and to experience the world he created.

Zade_92 on Apr 4, 2013

Sounds oddly familiar... cough *TRON* cough

bigred1 on Apr 4, 2013

I get chills every time I hear StarWaves. This whole thing is amazing. Just amazing! Preordered mine already as well.

bat0u on Apr 4, 2013

Really like it. Better than a lot of recent soundtracks.

Luke Cavanagh on Apr 4, 2013

So it's 30 tracks in iTunes, I don't think this counts as "all". Still nice to preview, though.

Devin Rodriguez on Apr 4, 2013

No, the full album is 17 tracks - this is all of them. The "deluxe edition" is 30 tracks. This is the full album, the deluxe edition is different with bonus songs.

Track 2 - 'Waking Up' sounds a LOT like 'Rise' from TDKR soundtrack.

honan on Apr 4, 2013

I believe Hans Zimmer was a collaborator or atleast he worked with daft punk on the tron legacy soundtrack, so maybe he contributed with m83 as well

Zade_92 on Apr 7, 2013

Certainly a similarity in whats trending for film soundtracks in the past five years. I enjoy working to music like this.

Nick Sears on Apr 4, 2013

16 Undimmed By Time Unbound By Death was beautiful.

Xerxexx on Apr 4, 2013

I looking the Title of the Song that was played by the Jack wifes at the House, when jack standing near lake in the Morning, thanks for the Answer

tosca on Apr 12, 2013

A Whiter Shade Of Pale - Procol Harum

Andy on Jul 11, 2013

another great soundtrack the title song is just amazing

Fernandes.F on Apr 12, 2013

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M83|Oblivion (Original Motion Picture Soundtrack) (Deluxe Edition)

Oblivion (Original Motion Picture Soundtrack) (Deluxe Edition)

• Released on 4/9/13 by Back Lot Music
• Main artists: M83
• Genre: Film Soundtracks

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Anthony Gonzalez, Composer, Producer, MainArtist - Ray Staff, StudioPersonnel - M83, MainArtist - Joseph Trapanese, Composer, Producer, MainArtist - Universal Pictures Music (ASCAP), MusicPublisher - Newman Scoring Stage, Fox Studios, Los Angeles, StudioPersonnel

2013 Universal Studios 2013 Back Lot Music, a division of Universal Studios Music LLLP

Anthony Gonzalez, Author, Producer - Ray Staff, StudioPersonnel - Susanne Sundfør, Author, FeaturedArtist - M83, MainArtist - Joseph Trapanese, Arranger - Universal Pictures Music (ASCAP), MusicPublisher - EMI Music Publishing (SACEM), MusicPublisher - Newman Scoring Stage, Fox Studios, Los Angeles, StudioPersonnel - Sony/ATV Music Scandinavia (BMI), MusicPublisher

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• 1 disc(s) - 30 track(s)
• Total length: 01:53:36
• Composer: Various Composers
• Label: Back Lot Music
• Genre: Soundtracks Film Soundtracks

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Editorial Reviews

Mondo, in partnership with Back Lot Music, are proud to re-issue M83's soundtrack to the 2013 Sci-Fi cult classic OBLIVION. Featuring artwork by Kilian Eng, and featuring the title track Oblivion performed by M83 and Susanne Sundfør. n the decade since this film was released, Tom Cruise and director Joseph Kosinski have been busy - not only did their most recent collaboration TOP GUN: MAVERICK change the cinema landscape forever, but has rightfully reminded people of this genre gem. Anthony Gonzales (M83) and composer Joseph Trapenese (Shadow and Bone, Spiderhead, Happiness, and Tron Legacy) crafted an incredible synth soundscape, crashing like waves on a post-apocalyptic shore - at times lonely and haunted, but full of melody and a sense of adventure. This was the Mondo music labels' 9th release ever in our catalog. We are so happy that 10 years later it continues to have a fanbase and we're honored to restock the album for fans who missed out on the original pressing.

Product details

• Package Dimensions ‏ : ‎ 13.86 x 12.76 x 1.06 inches; 10.4 ounces
• Manufacturer ‏ : ‎ Mondo
• Original Release Date ‏ : ‎ 2023
• Date First Available ‏ : ‎ June 3, 2023
• Label ‏ : ‎ Mondo
• ASIN ‏ : ‎ B0C71JV9S1
• Number of discs ‏ : ‎ 2
• #4,258 in Soundtracks (CDs & Vinyl)

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Listen to the First M83 Track from OBLIVION

Listen to M83's First Track from Oblivion. Listen to the first song from M83's score for Joseph Kosinski's sci-fi film Oblivion, starring Tom Cruise.

Director Joseph Kosinski famously collaborated with the music duo Daft Punk on the score for Tron: Legacy , and for his new film Oblivion , Kosinski has once again reached out to the music community for the pic’s soundtrack.  The filmmaker has been developing Oblivion for a number of years, and in a recent interview with Steve the filmmaker revealed that as early as his first treatment for the script in 2005, he had noted his desire for a soundtrack from the electronic band M83 .

Kosinski’s dream came true, as Anthony Gonzales  and Co. have composed the entire original score for Oblivion and now the first track from their efforts has been unveiled online.  “StarWaves” is a decidedly synth-heavy cut, but it does a nice job of mirroring the scope and expansiveness of Oblivion that we’ve seen in the trailers.  Hit the jump to take a listen and to see what Kosinski had to say about M83’s score for the film.  Oblivion opens in IMAX and traditional theaters on April 19th.

Via Rolling Stone .

Here’s an excerpt from Steve’s interview with Kosinski regarding M83:

Joseph Kosinski: I had been thinking about M83.  I went back and I found my first treatment for   Oblivion   from 2005 and it had listed in the treatment a soundtrack of M83, Boards of Canada; they were listed back then when they had only done an album or two.  So I always felt like Anthony’s music was suited to this story from its very inception.  So when it came time to putting this film together, obviously the   Tron: Legacy   collaboration with Daft Punk worked out as good as I would have ever hoped, I wanted to do something similar in that I’m pulling an artist from outside the movie business to create an original sound for this film.  But I didn’t want it to be—Daft Punk’s music wouldn’t make sense for this movie.  It had to be an artist whose music fit the themes and story I was trying to tell.  And M83’s music I felt was fresh and original, and big and epic, but at the same time emotional and this is a very emotional film and it felt like a good fit.  So I talked to him very early and he was finishing up his latest album at the time and I am so excited.  I brought in Joe Trapanese, the orchestrator from   Tron: Legacy   is now the orchestrator on this so it’s very similar arrangement of talent.  I’m as excited about what we’re doing musically for this film as I was for   Tron . 

Collider: If I recall, when we spoke on  Tron: Legacy , Daft Punk had given you a lot of demos and then you picked out some stuff, has it been a similar process with M83?

Kosinski:   It’s been a little different because on   Tron   the timeframe of that movie from development through shooting through post was three years, so Daft and I got started very early on ideas.  So when we were shooting I actually had a dozen tracks or something, demos, but something I could play on set.  I don’t know if you were on set, at the End of Line club, I think you were probably there.

Kosinski:   We were playing the tracks that were eventually used in that scene.  That’s very unusual, I think, to have your score before you shot.  Having the music while you’re cutting it was a good thing in many ways and maybe not so good thing in other ways.  But that was the process and ended up with a score and a picture which were very interlocked and I think it made sense for that movie.  This one was a little different just because we’re moving faster I didn’t have full songs on set in the same way.  The development was a little more typical where I had a couple demos while we were shooting, but most of the work’s been done in post.  We’re going to be recording everything in January.

Is it going to be all new tracks or will there be any tracks that he’s done in the past?

Kosinski:   All new.  All original, all new, yeah.

Do you foresee fifteen tracks or do you have an idea of how many there are?

Kosinski:   I’m not sure what the count is, but it’s a lot of music.  There’s a lot of music in the movie.  It’s probably eighty percent scored.  I would say the same thing I said for the Daft Punk tracks, some stuff feels like Daft and some stuff you would never guess Daft would do.  Some of my favorite tracks from   Legacy   were tracks that you would never guess in a million years were Daft Punk and I think the same goes for this.  Some of the stuff you’re going to hear the M83 in its full glory, screaming out, but at other times it serves the movie as a score should it’s under the surface.  So it will be interesting to see what people think.

• Cast & crew
• User reviews

A veteran assigned to extract Earth's remaining resources begins to question what he knows about his mission and himself. A veteran assigned to extract Earth's remaining resources begins to question what he knows about his mission and himself. A veteran assigned to extract Earth's remaining resources begins to question what he knows about his mission and himself.

• Joseph Kosinski
• Karl Gajdusek
• Michael Arndt
• Morgan Freeman
• Andrea Riseborough
• 1.1K User reviews
• 569 Critic reviews
• 54 Metascore
• 1 win & 17 nominations

• Julia's Child

• Grow Hall Survivor
• (as David Madison)

• NASA Ground Control
• (uncredited)

• Jack's Daughter

• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia There were ten days of location shooting in Iceland, where daylight lasted virtually 24 hours. Joseph Kosinski wanted to make a film that was very much based in daylight, considering that a lot of classic sci-fi movies like Alien (1979) and Blade Runner (1982) were shot in near darkness.
• Goofs Vika's desk display shows Jack tapping out the word "Paradise" in Morse code to communicate with her, but the actual Morse code letters heard are "a-d-i-s-t-r-a-e-e".

Jack Harper : If we have souls, they are made of the love we share... undimmed by time and bound by death.

• Crazy credits The Universal logo features the Earth in its ruined state in 2077 in the film, with the logo's letters rusted. The Tet space station is seen orbiting the world.
• Alternate versions The film's IMAX release presented the film open-matte, at an aspect ratio of 1.90:1, meaning there was more picture information visible in the top and bottom of the frame than in normal theaters and on home video.
• Connections Featured in Projector: Oblivion (2013)
• Soundtracks Ramble On Written by Robert Plant , Jimmy Page Performed by Led Zeppelin Courtesy of Atlantic Recording Corp. By arrangement with Warner Music Group Film & TV Licensing

User reviews 1.1K

• Apr 11, 2013
• What is the purpose of all those random noises that the drones make? Is it a form of communication?
• Is Oblivion based on a book?
• Why did the Tet need Earth's seawater?
• April 19, 2013 (United States)
• United States
• Official Facebook
• Official site
• Dettifoss, Vatnajökull National Park, Iceland
• Universal Pictures
• Relativity Media
• Monolith Pictures (III)
• See more company credits at IMDbPro
• $120,000,000 (estimated)
• $89,107,235
• $37,054,485
• Apr 21, 2013
• $286,168,572

Technical specs

• Runtime 2 hours 4 minutes
• Dolby Digital
• Dolby Atmos

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M83 premiere title song from Tom Cruise's 'Oblivion' - listen

M83 have debuted the title track from their new score for upcoming movie Oblivion .

The French electronic group's new cut 'Oblivion' features vocalist Susanne Sundfør and will appear in the soundtrack for Tom Cruise's post-apocalyptic blockbuster.

M83 have previously provided tracks for films such as Chronicle , The Last Song and Last Night .

Oblivion sees Cruise take on the role of a solider sent to a far-off planet under orders to destroy what remains of an alien race. An unexpected arrival leads him to question his mission and the world he's been dispatched to.

Olga Kurylenko, Morgan Freeman, Andrea Riseborough, Nikolaj Coster-Waldau and Melissa Leo are among the supporting cast for Oblivion , which opens in cinemas on April 10.

Watch the trailer for Oblivion below:

.css-15yqwdi:before{top:0;width:100%;height:0.25rem;content:'';position:absolute;background-image:linear-gradient(to right,#51B3E0,#51B3E0 2.5rem,#E5ADAE 2.5rem,#E5ADAE 5rem,#E5E54F 5rem,#E5E54F 7.5rem,black 7.5rem,black);} Music

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Movie Review

After the Apocalypse, Things Go Downhill

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By Manohla Dargis

• April 18, 2013

If only it were less easy to laugh at “Oblivion,” a lackluster science-fiction adventure with Tom Cruise that, even before its opening, was groaning under the weight of its hard-working, slowly fading star and a title that invites mockery of him and it both. The agony of being a longtime Tom Cruise fan has always been a burden, but now it’s just, well, dispiriting. You not only have to ignore the din of the tabloids and swat away the buzzing generated by his multiple headline-ready dramas, you also have to come to grips with the harsh truth that it no longer actually matters why and how Tom Terrific became less so. No one else much cares.

Mr. Cruise hasn’t made it easy. His screen presence has continued to grow ever-more self-serious, despite occasional attempts to lighten up, as in the recent would-be satire “Rock of Ages.” Midway through “Oblivion” I wondered when I had last believed there was something true in his laugh, something that felt either genuinely expansive or intimate, as in “Jerry Maguire,” or chilled with a hint of madness, as in “Magnolia.” Mind you, he doesn’t have many occasions to laugh in “Oblivion,” a gray post-apocalyptic tale with rainbow accents, yet when he does, it feels uncomfortably forced. In those moments, was he worrying that the movie wasn’t going to return him to the box office summit? He’s 50 years old and too young to be prepping for a slow fade, yet what are his choices?

Working with better directors — with filmmakers who know how to charm or force performances out of stars or perhaps say no to them — seems like a good place to start. “Oblivion” is only the second feature directed by Joseph Kosinski, after the 2010 release “Tron: Legacy.” That special effects-laden fantasy, a musty hero’s journey largely distinguished by the yawning divide between its poor quality and its $170 million price tag, was a flat line of a dud in almost every respect. It nonetheless made enough money to shore up an exploitable franchise property and spawn a sequel, and while this may not sound like much of an achievement, box office success or the perception of it can beget more opportunities in the movie business, which may help explain “Oblivion.”

Its story primarily unfolds in 2077, long after a cataclysmic war between earthlings and extraterrestrials. Nuked to all but radioactive ash, the Earth has been rendered nearly uninhabitable, and its remaining people have fled to a galactic shelter. The only ones left on the planet appear to be Jack Harper (Mr. Cruise) and his companion, Victoria (Andrea Riseborough), who live in a cantilevered aerie above the clouds that brings to mind a “Jetsons” sky pad. His job is to repair drones that patrol the facilities that extract resources for the surviving populace and that are under attack from the aliens, or Scavs, as in scavengers. She monitors him back at their place, waving her hands over a tabletop computer, while in full makeup and rocking some fabulous end-of-days-to-night dresses and heels.

The heels seem a strange choice given, you know, the whole doomsday thing, not to mention the glossiness of the couple’s floors. Then again, from the way she strips for some late-night nuzzling, her get-up does appear to have instrumental value, even if one misstep and she or at least an ankle would be a goner. A similar kind of tricky balancing act is inherent in science fiction, a genre that often employs recognizable details to tether readers and viewers in fantastical realms. It’s a form, as is often noted, that makes the strange familiar and the familiar strange, a narrative principle that Mr. Kosinski embraces again and again with niceties like Jack’s Yankee baseball cap and Jack and Victoria’s candlelight dinners.

The candles add atmosphere, as does that baseball cap. But because Mr. Kosinski hasn’t come up with a resonant idea to accompany them — a new or different way of looking at the world that exists and the world that might one day come into being — his retro flourishes prove as empty as the lunarlike landscapes. There’s an arresting moment, for instance, when Jack drives through a blasted-out terrain littered with ships partly submerged in earth, a vista that demonstrates Mr. Kosinski’s fondness for playing with negative space. The vision of a man existentially alone conjures up countless cowboys traveling through innumerable westerns and summons up the shock of the half-buried Statue of Liberty in “Planet of the Apes.” Yet again, Mr. Kosinski fails to build on his materials and the allusions soon fade.

All genre fictions build, self-consciously or not, on their progenitors. The problem with “Oblivion,” which is based on an unpublished graphic novel Mr. Kosinski wrote and used to pitch the studio, is that it’s been stitched together from bits and pieces that evoke numerous other, far better far-out tales and ideas, conceits and characters from the likes of Philip K. Dick, the Wachowskis, J. G. Ballard and Duncan Jones, specifically his elegant, elegiac movie, “Moon.” No matter how hard Mr. Cruise squares his jaw or flings his body over and against the scenery, and despite the presence of Morgan Freeman, Olga Kurylenko and Nikolaj Coster-Waldau, who trickle into the story to aid in Jack’s journey, “Oblivion” never transcends its inspirations to become anything other than a thin copy.

“Oblivion” is rated PG-13. (Parents strongly cautioned.) Zap-gun violence and skinny-dipping.

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Oblivion: film review.

Universal's sci-fi thriller, from "Tron: Legacy" director Joseph Kosinski, opens April 19.

By Todd McCarthy

Todd McCarthy

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Oblivion Trailer Screengrab - H 2013

A sort of The Eternal Return played out in the ruins of a post-apocalyptic planet Earth, Joseph Kosinski ‘s  Oblivion is an absolutely gorgeous film dramatically caught between its aspirations for poetic romanticism and the demands of heavy sci-fi action. After a captivating beginning brimming with mystery and evident ambition, the air gradually seeps out of the balloon that keeps this thinly populated tale aloft, leaving the ultimate impression of a nice try that falls somewhat short of the mark. There’s enough futuristic eye candy and battle scenes to lure the genre boys, while the presence of three important female characters, as well as Tom Cruise in good form, could attract more women than usual for this sort of fare, resulting in mostly robust, but not great, returns worldwide. The Universal release opens this week in most international territories, while the domestic bow comes April 19.

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To those who might wish to avoid a film by the maker of Tron: Legacy , it should be stressed that Oblivion is a more interesting work by a good distance, an imaginative speculative piece set some six decades hence that always engages serious attention, even if it doesn’t convincingly jell. In mood, a certain delicacy and the sense of isolation both on a depopulated Earth and somewhere above it, the recent film that this most strongly recalls is WALL-E , except with violence and without the humor and charm of the Pixar classic.

The Bottom Line A terrific-looking sci-fier that loses steam in the second half.

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There have been many films set on an Earth depleted of humans, but few as visually enthralling as this one. Shot by Claudio Miranda of Life of Pi , Oblivion shares that film’s lovely light, nuanced coloration and virtually seamless meshing of live photography and effects. In neither film is it always possible to be entirely sure of what is real and what’s computer generated, but the result is beautiful however it breaks down.

After what appear to be memory flashes of a previous life back in an early 21st century New York City on the part of Cruise’s Jack Harper, he and his partner Vika ( Andrea Riseborough ) wake up in what can only take the prize as the ultimate loft space, circa 2077, a perch that’s the last word in minimalist chic. It also affords unobstructed views of what’s been left behind after the catastrophe that saw the moon blown into pieces, which in turn resulted in earthly ruin and a subsequent evacuation of survivors to Saturn’s planet Titan.

Jack (Cruise’s second use of the name in a row, after Jack Reacher ) takes daily spins down to Earth in a bladeless, mosquito-like helicopter, while the British Vika tracks his movements and coordinates with headquarters, personified on a screen by the friendly, Southern-accented Sally ( Melissa Leo ). The self-described “mop-up crew,” Jack and Sally, who get on well, have only two weeks to go before they finish up and head for Titan.

On the ground, Jack looks for any signs of Scavengers, or Scavs, who, apparently, were defeated in the great war but still provoke worries with their desperate ambushes. He also must avoid the radioactive zones, which remain hot. Everywhere he goes, however, Jack is protected by drones, fast-flying globe-like hi-tech wonders that are armed to the teeth and can reliably detect friend or foe.

Jack seems to relish being haunted by the past. He wears a Yankees cap, nostalgically wallows in lore surrounding the final Super Bowl, played in 2017, while surrounded by the ruins of the stadium where it took place and uses the upper part of the Empire State Building, which sticks out of the ground that has swallowed the rest of the structure, as a sort of home base and control tower.

Jack also is inordinately fond of a collection of highfalutin Victorian-era verse by Thomas Macaulay  titled The Lays of Ancient Rome , especially the line that reads, “And how can man die better than facing fearful odds.” Given that Jack seems to be the last man responsible for tidying up affairs on Earth, he’d better not die prematurely, though there is someone or something down there that seems bent on catching him.

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The film’s delightful sense of apartness in the early going and the industrious way that Vika, especially, approaches her task of administering to the final business of Earth are things that can’t last, especially not after Jack brings home the one survivor of a mysterious crash of a spaceship carrying several hibernating humans. Once she wakes up and recovers, Julia ( Olga Kurylenko ) throws a monkey wrench into life in the loft, not only because she is so beautiful (Riseborough’s alarmed reactions to her are indelibly registered) but because she is an arrival from the past, when she was Jack’s wife.

Revelations of what follows are best not detailed, except to say that Morgan Freeman and Nikolaj Coster-Waldau, respectively, play the intelligent and impulsive members of a rebel band that soon captures Jack and Julia. As much as Jack aspires to recapture the past, however, and regardless of Julia’s evident purity of intent, the renewed relationship doesn’t click as intended, mostly because it’s tough to buy the conceit of the couple reunited after so long.

Further twists and betrayals lie in store, but they feel more like obligatory plot complications than organic to the overall story. As a result, viewer engagement gradually lessens, leading to a climax that makes for thematic sense but dramatic head-scratching.

There’s a bit too much manly stunt stuff, the better likes of which we’ve seen in the Mission: Impossible extravaganzas and elsewhere, but generally Cruise plays it naturalistic and low-key here, likable and to solid effect. Riseborough, who was the one person worth watching in Madonna ‘s wretched W.E. , is an inspired bit of casting as she brings prim, snappy delivery to many routine lines and irrepressible emotion to her later behavior. Kurylenko is more than plausible as a woman who would inspire recurring dreams in Jack, while Leo has so much personality that she can burst right through the limitations of her video screen-only appearances and still register strongly.

Technically, the film is a dream; if Tron: Legacy showed that Kosinski was right at home in an imaginary, effects-created world, then Oblivion reveals him as well along the road toward applying effects to even grander ends, in this case to a story he originally conceived years ago as a graphic novel that was adapted as a script by Karl Gajdusek and Michael DeBruyn .

The unconventional electronic score by M83 is terrifically effective for the first hour and maybe more until it starts becoming a bit repetitive.

Opens: April 10-12 (international), April 19 (U.S.) (Universal)

Production: Chernin Entertainment, Monolith Pictures, Radical Studios

Cast: Tom Cruise, Morgan Freeman, Olga Kurylenko, Andrea Riseborough, Nikolaj Coster-Waldau, Melissa Leo, Zoe Bell

Director: Joseph Kosinski

Screenwriters: Karl Gajdusek, Michael DeBruyn , based on the graphic novel original story by Joseph Kosinski

Producers: Joseph Kosinski, Peter Chernin, Dylan Clark, Barry Levine, Duncan Henderson

Executive producers: Dave Morrison, Jesse Berger, Justin Springer

Director of photography: Claudio Miranda

Production designer: Darren Gilford

Costume designer: Marlene Stewart

Editor: Richard Francis-Bruce

Visual effects supervisors: Eric Barba, Bjorn Mayer

PG-13 rating, 124 minutes

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