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General Discussions » Now Playing L (Posts 3301 to 3330 of 4868)

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    • CommentAuthorTimmer
    • CommentTimeMar 15th 2018
    Filmscoregirl wrote
    Krull - James Horner

    Spectacular work by James.


    Corrected. cool
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorWashu
    • CommentTimeMar 15th 2018 edited
    Edmund Meinerts wrote
    Washu wrote
    it is too lite and too heavy-handed

    Come again?

    I think I was trying to say that it is too simple and light among other things. I enjoy a lot of simple music so that shouldn't necessarily be an issue at all though. But this is too light, lacking in complexity and depth to me in a bad way. Most of the score doesn't hold my interest which is always a bad sign. It also never stops and it is too much, it gets sappy. Don't get me wrong, I don't think it is a bad score, but it is not very good either.

    NP: Under the Skin - Mica Levi

    This is a very good score this even if quite challenging out of context, I find it much, much better than Jackie - a a pretty good score, don't get me wrong, but it pales when compared to Under the Skin. Most of Jackie is pure atmospheric blah, only some of it is indeed striking and more interesting than most film music.

    ---

    Drive - Cliff Martinez

    This is a fine score, one of his best even, although nothing comes close to his magnum opus Solaris.
    •  
      CommentAuthorCaliburn
    • CommentTimeMar 15th 2018
    christopher wrote
    I did not enjoy Pacific Rim. Film or score. I won't go out of my way to see the new one. Or listen to the score, probably. Not my thing.


    But.. but .. but.. they used a boat as a club... a BOAT as a CLUB! :-)
    Editor-in-chief at http://soundtrackworld.com / http://soundtrackwereld.nl
  4. Aidabaida wrote
    PawelStroinski wrote
    Harry Gregson-Williams - Deja Vu

    I also quite like the film. Sure, the time travel moments make little sense and, it seems, the physical complexities of the idea were completely shunned by Tony Scott in favor of spectacle, though he is still able to milk the concept out for its entertainment value. I really like how understated Denzel Washington was in his films (he gets back to that in The Equalizer, which plays out like a bastard child of Man on Fire anyway) and, actually, in his dialogue scene with Denzel it's the chilly Caviezel that steals the show..


    Movie is pretty good but it’s really redeemed by, in my opinion, one of the top 5 car chases ever filmed. The car chase is so ingenious I wonder if it was thought of first and then a story written to accommodate it.


    Scott himself considered that he did a "mediocre" job directing the scene and blamed the film's shortcoming on a filming schedule (19 weeks he deemed too short).
    http://www.filmmusic.pl - Polish Film Music Review Website
  5. Edmund Meinerts wrote
    Lars wrote
    Edmund Meinerts wrote
    but as soon as someone is running or driving or fighting - out come the drumloops, away goes anything interesting. He doesn't have his colleague Powell's ability to make that sort of music engaging.

    but john powell never scored a tony scott movie. that means we have no idea, in what style powell would have composed the music. but when i hear the action music for example in D-Tox, there is no difference to harrys music for tony scott films. it really depends on what the director wants. i love tony scott movies and harrys musical style for them. since The Fan scott prefered this kind of music and for me it worked fantastic.

    I was thinking more Bourne Supremacy/Paycheck/Italian Job than D-Tox, necessarily, but point taken. Maybe Tony Scott's fast-cutting is harder to write engaging music to than Paul Greengrass' camera-shaking. Although Greengrass isn't exactly easy to please, musically (and hey, whaddya know - now that he doesn't work with Powell anymore, and Jason Bourne does not count, suddenly the scores to his movies have gotten a lot less engaging. I'm just saying...)


    It's more about building moments than momentum if you know what I mean.

    Tony Scott, as most former advertising directors, is about milking the visuals as much as possible. It's the same with Michael Bay - every single shot is aimed at getting a certain effect. Though there are two massive caveats to that, but the principle is the same. The caveats are:

    1. On basic storytelling level (filmmaking 101 if you will) Scott's films work way better than Bay's (outside The Rock which in turn has storytelling on a higher level than Tony's lesser work like The Fan or Pelham).

    2. Every single shot in a Michael Bay film has to be the prettiest possible. Tony Scott doesn't mind ugly or "wrong" composition if it gets his point across. Whether the close-ups are too big (Clemmensen's quips at Denzel's nostrils in Man on Fire) or it looks plain weird (hello, Domino!), he doesn't mind. He actually embraces that imperfection or errors (this being the actual point of Domino).

    And again - Bourne Identity and decent chunks of Italian Job aren't that far off from what HGW was doing at that time and, actually, in Scott's films in particular. In fact, Gregson-Williams has made almost as much impact as Powell on the modern action sound, though that's more in line with what RCP was doing. I mean, listen to Orvarsson's Vantage Point.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorBobdH
    • CommentTimeMar 15th 2018 edited
    READY PLAYER ONE - Alan Silvestri

    Just the Main Titles since that’s the only thing that’s released for now (the rest will follow March 30th), but so far it’s exactly as I hoped it would be: old fashioned fanfare and fully orchestral without the need to add electronics for the “sci-if / VR element”, it seems to be the first confirmation that this is the Silvestri from Back to the Future - and it also sounds like I imagined a John Williams score for this film would’ve sounded.

    But, as I said, it’s only the Main Titles - let’s hope this proves to be representative for the score as a whole.

    EDIT: Also, heard this 2:31 min. cue only once and it's already pleasantly stuck in my head.
    •  
      CommentAuthorThor
    • CommentTimeMar 16th 2018
    NP: ARABIAN NIGHT (Robert Folk)

    A poor man's Alan Menken Disney score, but loads of charm nonetheless.
    I am extremely serious.
    •  
      CommentAuthorWashu
    • CommentTimeMar 16th 2018
    Meet Joe Black - Thomas Newman

    A good score, but not one of his best.
    •  
      CommentAuthorSteven
    • CommentTimeMar 16th 2018 edited
    Star Wars: The Last Jedi John Williams

    My initial enthusiasm, borne from the fact that not only is it a new John Williams score, but also a new John Williams Star Wars score, has waned somewhat since it first came out.

    Like the film, there isn't really much new on offer, nor is any of it particularly interesting. Rose's theme is nice enough, despite her being one of the worst things about the film, but it's all very surface level. None of it gets under my skin.

    I hope the final film has enough emotional impact to inspire Williams to write one last great piece of Star Wars music. But if it doesn't, who cares. We still have the originals.
  10. Washu wrote
    Meet Joe Black - Thomas Newman

    A good score, but not one of his best.


    That’s actually my favorite score of his. I love that theme.
    •  
      CommentAuthorThor
    • CommentTimeMar 16th 2018
    NP: LIFE IN A FISHBOWL (Olafur Arnalds)

    Beautiful.
    I am extremely serious.
    •  
      CommentAuthorAidabaida
    • CommentTimeMar 16th 2018
    PawelStroinski wrote

    Scott himself considered that he did a "mediocre" job directing the scene and blamed the film's shortcoming on a filming schedule (19 weeks he deemed too short).


    interesting. well ere's a though that's probably completely wrong. The main mechanic behind the chase is so ingenious and complex, and perhaps Scott's full-bore flashy directing would have distracted from it. the workmanlike style was sort of necessary to keep the focus on the ideas behind it.
    Bach's music is heartless and robotic.
    •  
      CommentAuthorThor
    • CommentTimeMar 16th 2018 edited
    NP: MAN OF STEEL (Hans Zimmer)

    About as far away from Olafur Arnald's LIFE IN A FISHBOWL as musically possible, but still great for other reasons.
    I am extremely serious.
  14. Aidabaida wrote
    PawelStroinski wrote

    Scott himself considered that he did a "mediocre" job directing the scene and blamed the film's shortcoming on a filming schedule (19 weeks he deemed too short).


    interesting. well ere's a though that's probably completely wrong. The main mechanic behind the chase is so ingenious and complex, and perhaps Scott's full-bore flashy directing would have distracted from it. the workmanlike style was sort of necessary to keep the focus on the ideas behind it.


    For some reason I think that by "doing a mediocre job directing the chase scene" Scott meant more the blocking itself than the camera work. Bruckheimer downright demanded that Scott toned his style down for the film before hiring him after Domino failed at the box office.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorThor
    • CommentTimeMar 16th 2018
    NP: TORDENSKJOLD & KOLD (Henrik Skram)

    I don't know; I can't quite get into this.
    I am extremely serious.
    •  
      CommentAuthorAidabaida
    • CommentTimeMar 16th 2018
    Thor wrote
    NP: MAN OF STEEL (Hans Zimmer)

    About as far away from Olafur Arnald's LIFE IN A FISHBOWL as musically possible, but still great for other reasons.


    I gave this album a spin a few days ago. It is truly fantastic. Zimmer perfectly balances raw power with a sense of tenuous emotionalism. What a spectacular, awe-inspiring score.
    Bach's music is heartless and robotic.
    •  
      CommentAuthorThor
    • CommentTimeMar 16th 2018
    NP: CRESTFALLEN (Henrik Skram)

    Dark, foreboding, modern, at times dissonant, explorative, this is not for everyone. But I find it quite hypnotizing.
    I am extremely serious.
    •  
      CommentAuthorErik Woods
    • CommentTimeMar 16th 2018
    Thor wrote
    NP: ARABIAN NIGHT (Robert Folk)

    A poor man's Alan Menken Disney score, but loads of charm nonetheless.


    Poor man's score? uhm I'd agree with that statement if you were talking about the weak ass songs but the score is bloody brilliant!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorSouthall
    • CommentTimeMar 16th 2018
    The Hurricane Heist Lorne Balfe

    A poor man's - well, anything really.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorThor
    • CommentTimeMar 16th 2018
    Erik Woods wrote
    Thor wrote
    NP: ARABIAN NIGHT (Robert Folk)

    A poor man's Alan Menken Disney score, but loads of charm nonetheless.


    Poor man's score? uhm I'd agree with that statement if you were talking about the weak ass songs but the score is bloody brilliant!

    -Erik-


    I agree. It's a great score. But Alan Menken's influence is all over both songs and score -- just not quite on that level. Hence "poor man" (which I guess is a Norwegian expression that doesn't translate well into English).
    I am extremely serious.
  21. Timmer wrote
    Filmscoregirl wrote
    Krull - James Horner

    Spectacular work by James.


    Corrected. cool


    Haha, yes indeed. In my vocabulary though, "pretty" means "very" so it was meant to read as "VERY spectacular!" biggrin
  22. Aidabaida wrote
    Thor wrote
    NP: MAN OF STEEL (Hans Zimmer)

    About as far away from Olafur Arnald's LIFE IN A FISHBOWL as musically possible, but still great for other reasons.


    I gave this album a spin a few days ago. It is truly fantastic. Zimmer perfectly balances raw power with a sense of tenuous emotionalism. What a spectacular, awe-inspiring score.


    Agree! It makes me punch the air and weep all within a few minutes. smile
  23. NP: Thor: Ragnarok (2017) - Mark Mothersbaugh

    Running on heavy rotation here. This combination of melodic orchestral pomp and 80s synth glory is so up my ally!
    I also saw the film two days ago. I agree it is a change in tone and more in line with Guardians of the Galaxy than the previous Thor features. I enjoyed the film anyhow. It reminded my in a good way of those crazy post Star Wars space opera flicks of the mid 80s. Nice stuff.

    smile Volker
    Bach's music is vibrant and inspired.
  24. Jerry Goldsmith: Suites and Themes Goldsmith

    Amazing music, beautifully played and recorded, what an album!
    •  
      CommentAuthorWashu
    • CommentTimeMar 18th 2018 edited
    Valerian and the City of a Thousand Planets - Alexandre Desplat

    I like it better than on my last listen - this is easily Desplat's best score from 2017. The score didn't make my top 10, but it was among the ten honorable mentions. It has a few highlight cues that I rather dig such as Pearls on Mul, Valerian's Armor, Pearls Power and Medusa - all four tracks are nice additions to any Desplat playlist. That final track may even be the best, it appeals to me in a similar way as the best of epic-style music does but in a more subtle way.
    •  
      CommentAuthorErik Woods
    • CommentTimeMar 18th 2018
    Thor wrote
    Erik Woods wrote
    Thor wrote
    NP: ARABIAN NIGHT (Robert Folk)

    A poor man's Alan Menken Disney score, but loads of charm nonetheless.


    Poor man's score? uhm I'd agree with that statement if you were talking about the weak ass songs but the score is bloody brilliant!

    -Erik-


    I agree. It's a great score. But Alan Menken's influence is all over both songs and score -- just not quite on that level. Hence "poor man" (which I guess is a Norwegian expression that doesn't translate well into English).


    It's a spectacular score! No need to knock it down a few pegs when it doesn't deserve it.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorThor
    • CommentTimeMar 18th 2018 edited
    Erik Woods wrote
    It's a spectacular score! No need to knock it down a few pegs when it doesn't deserve it.


    That phrase is not really a knock-down. It's an acknowledgement of its influence, just without the same budget and weight behind it.
    I am extremely serious.
    •  
      CommentAuthorErik Woods
    • CommentTimeMar 18th 2018 edited
    Thor wrote
    Erik Woods wrote
    It's a spectacular score! No need to knock it down a few pegs when it doesn't deserve it.


    That phrase is not really a knock-down. It's an acknowledgement of its influence, just without the same budget and weight behind it.


    Saying it's a poor man's score is more of an insult than what you are insinuating.

    Annnnnnnnyway... moving on!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorThor
    • CommentTimeMar 18th 2018 edited
    I guess it could be interpreted that way, even if that's not the main focus of the expression (which is more about poor man IN RELATION TO something). Let's get the semantics straight here!

    But yes -- while good, it IS a lesser score than the Menken classics from which it takes its DNA.
    I am extremely serious.
  30. NP: Justice League (2017) - Danny Elfman

    Elfman's Batman and Spider-Man scores have always been part of my gold standard in action film scoring. Justice League is a most welcome return to that musical universe. Spine tingling!

    smile Volker
    Bach's music is vibrant and inspired.

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