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NOW PLAYING LI

General Discussions » NOW PLAYING LI (Posts 61 to 90 of 906)

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    • CommentAuthorJoep
    • CommentTimeAug 21st 2020
    Kenji Kawai - Ip Man 4

    Nothing new.
  2. christopher wrote
    I've heard lots of other familiar Horner themes on these earlier scores and realized that many of the themes and motifs that I thought were from a later score were actually in one of his very early scores. Of course I'm familiar with all his thematic recycling. It's just interesting to see how common it was even from the beginning.


    I’ve never minded Horner’s recycling and actually quite like the familiarity. I’m not sure why he gets so much flak for it. Are people pissed that Claude Monet painted hundreds of water lilies? Doesn’t make him less of an artist, or his work any less enjoyable. smile
    •  
      CommentAuthorLSH
    • CommentTimeAug 24th 2020
    christopher wrote
    I've started listening to James Horner's scores from the beginning. I'm trying to find what I can from everything he scores. Most of these I've already heard, but some have been new to me. For example, I had never heard 48 Hrs before and was surprised (though not really) to heard the steel drum theme from Cocoon there, also on steel drums. I've heard lots of other familiar Horner themes on these earlier scores and realized that many of the themes and motifs that I thought were from a later score were actually in one of his very early scores. Of course I'm familiar with all his thematic recycling. It's just interesting to see how common it was even from the beginning.

    One of my biggest pleasant surprises is Testament. I had only heard it once before, and I had liked it well enough, but couldn't remember a thing about it. This time around I was really impressed by just how lovely it is. It doesn't have big moments or jaw-dropping highlights. It's just really intimate and has a lot of thoughtful instrumental solos. It's quite unlike all the early sci-fi and horror music he was writing at the time. I dig it.


    I did a completely chronological Horner binge during lockdown. It was great.
    •  
      CommentAuthorLSH
    • CommentTimeAug 24th 2020 edited
    Filmscoregirl wrote
    christopher wrote
    I've heard lots of other familiar Horner themes on these earlier scores and realized that many of the themes and motifs that I thought were from a later score were actually in one of his very early scores. Of course I'm familiar with all his thematic recycling. It's just interesting to see how common it was even from the beginning.


    I’ve never minded Horner’s recycling and actually quite like the familiarity. I’m not sure why he gets so much flak for it. Are people pissed that Claude Monet painted hundreds of water lilies? Doesn’t make him less of an artist, or his work any less enjoyable. smile


    I don’t care either. He was an incredible dramatist and that was the key to his success.
    •  
      CommentAuthorLSH
    • CommentTimeAug 25th 2020 edited
    NP: DEEP IMPACT - JAMES HORNER

    I like this. The main theme is good, quite Apollo 13-ish. The score meanders a bit... but in a good way. The final cue is spectacular Horner. Shame the recording is so poor.
  6. LSH wrote
    NP: DEEP IMPACT - JAMES HORNER

    I like this. The main theme is good, quite Apollo 13-ish. The score meanders a bit... but in a good way. The final cue is spectacular Horner. Shame the recording is so poor.


    That's one that I've failed to really listen well to. Don't really have much, if any, memorized. I think I'll revisit it! smile Thanks for bringing it up!
    • CommentAuthorJoep
    • CommentTimeAug 27th 2020
    Johan Söderqvist - Låt den Rätte Komma In
  8. LSH wrote
    NP: DEEP IMPACT - JAMES HORNER

    I like this. The main theme is good, quite Apollo 13-ish. The score meanders a bit... but in a good way. The final cue is spectacular Horner. Shame the recording is so poor.


    It's one of those scores I hate to listen to on CD, but it works sooooo well in the film.
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    • CommentAuthorJoep
    • CommentTimeAug 28th 2020
    I love the low mix in some of these Horner recordings.
  10. I've just finished listening to the complete recordings of THE FELLOWSHIP OF THE RING. I have to admit that, even though I have had this since it was originally released, this is the first time that I have listened to it all the way through.

    I like the idea of having the story in musical form - I think that Shore's wealth of themes and motifs serves this very well - but I felt that there was a lot of filler. And, with it being the music for the extended movie, there were several musical changes that weren't as enjoyable as what's heard in the single CD version.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  11. I find even the filleriest of filler moments in those scores to still be compelling. Something about the sound world Shore built. Not saying every cue is a masterpiece or anything (that's true of no score) but there's value in all of them.

    But yeah...don't throw out the old CD. My version is a bit of a mix and match of the two actually (the CRs but with superior album versions added back in)
    •  
      CommentAuthorLSH
    • CommentTimeSep 1st 2020 edited
    NP: THE LEGEND OF ZORRO - JAMES HORNER

    I revisited both this and The Mask Of Zorro.... and I think I prefer this. The action music alone is superb. Overall just feels more aggressive.
    •  
      CommentAuthorThor
    • CommentTimeSep 1st 2020
    LSH wrote
    NP: THE LEGEND OF ZORRO - JAMES HORNER

    I revisited both this and The Mask Of Zorro.... and I think I prefer this. The action music alone is superb. Overall just feels more aggressive.


    Which is why I prefer the first more. Less action, more sweeping romance.
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeSep 1st 2020
    NP: LOCH NESS (Trevor Jones)

    Slightly on the long side, but some wonderful melodic orchestral writing.
    I am extremely serious.
  15. Edmund Meinerts wrote
    I find even the filleriest of filler moments in those scores to still be compelling. Something about the sound world Shore built. Not saying every cue is a masterpiece or anything (that's true of no score) but there's value in all of them.

    But yeah...don't throw out the old CD. My version is a bit of a mix and match of the two actually (the CRs but with superior album versions added back in)

    I certainly applaud Shore for generating such a distinctive sound. The 'filler' certainly links the set-pieces effectively.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  16. NP: Julie & Julia by Alexandre Desplat

    Completely disliked the movie (even as a Francophile and avid cook) but I really love the music! It has the spunk, positivity and enjoyableness that is missing from the movie. I'm so glad Desplat signed on, as there seems to be some of his own joy in the music too - maybe his love for his home country and cuisine coming through? smile
  17. If you like that one, Paddington 2 (Dario Marianelli) has a lot of lovely things too. (Although there’s a few action cues to probably skip if you’re more drawn to the soufflé feel.)
    A butterfly thinks therefore I am
  18. Cool, thanks - I'll have to check that one out sometime!

    NP: Godzilla: King of Monsters - wow, just wow, still LOVE this one! Bear McCreary just kills it in the percussion department and it's amazing! And kind of mimics/messes with your heartbeat almost!
    •  
      CommentAuthorAtham
    • CommentTimeSep 5th 2020
    So true of Godzilla: King of Monsters. It's a massive work with much to enjoy. And yeah, the percussion is wow! I often return to this one.
  20. Yes, I keep listening, and it keeps surprising me! smile
  21. franz_conrad wrote
    If you like that one, Paddington 2 (Dario Marianelli) has a lot of lovely things too. (Although there’s a few action cues to probably skip if you’re more drawn to the soufflé feel.)

    Another one in that sort of charm-and-fine-dining wheelhouse is A.R. Rahman's lovely The Hundred-Foot Journey.
  22. It really bothered me in The Hundred-Foot Journey that one of the most powerful musical moments in the movie (when the two of the main characters are teaching each other to cook their cultural dishes) wasn't an original piece of A.R. Rahman music, but instead was "Fly A Kite" from Alberto Inglesias' The Kite Runner. Being so in love with and familiar with the score to Kite Runner, it really kind of jarred me and took me out of Hundred Foot Journey. A.R. Rahman is extremely gifted and talented and I love so many of his scores, I just didn't understand why he needed to recycle someone else's music there - especially in such big moment that brought the music front and center. Because of that, I wasn't all that interested in pursuing the score afterwards. But I love what A.R. Rahman did in Viceroy's House - he could have easily written something super beautiful for that moment! Does he redeem himself when listening to the album apart from the movie?
  23. And I think maybe I had high hopes for the movie in general because I love bridging cultures and the community power of food, but thought it was kind of disappointing.
    •  
      CommentAuthorThor
    • CommentTimeSep 7th 2020 edited
    Filmscoregirl wrote
    Does he redeem himself when listening to the album apart from the movie?


    I'm probably one of the biggest Rahman fans in the room (I have 25 albums of his), but don't own THE HUNDRED FOOT JOURNEY, for some reason. But yes - his music is always wonderful on album, IMO. Although it's rare you'll find many instrumental score cues on his soundtracks, at least his Indian efforts. They're usually just songs. Great songs, but songs nonetheless.

    If you're looking for great score albums, there are some nice ones in recent times - VICEROY'S HOUSE, MUHAMMAD THE MESSENGER OF GOD, PEOPLE LIKE US, COUPLES RETREAT. Also check out the non-film music album CONNECTIONS. And here's my review of BEYOND THE CLOUDS (2017): http://celluloidtunes.no/beyond-the-clouds-a-r-rahman/

    Also, do check out his score album for ENTHIRAN - big, bold, muscular, symphonic sci fi music that stands perfectly alongside its Hollywood counterparts.

    Guess I should acquire THE HUNDRED FOOT JOURNEY now, in order to give you any kind of meaningful feedback, LOL!
    I am extremely serious.
  25. Mostly songs, but I also enjoy MILLION DOLLAR ARM.
    •  
      CommentAuthorThor
    • CommentTimeSep 9th 2020
    Haven't seen that, I'm afraid. I tend to steer clear of sports movies these days, especially if it's US sports that I have no clue about. But the score could be great; thanks for the tip!
    I am extremely serious.
    • CommentAuthorJoep
    • CommentTimeSep 12th 2020
    Johan Söderqvist and Patrik Andrén - Battlefield V : Tides of War

    I was surprised by the use of Junko Ueda, whose attempts to preverse the Japanese musical heritage are impressive.
  28. Hans Zimmer - The Thin Red Line

    I always make a point of featuring this score at least once in every new NP thread. Today is a good day to return to it: the man's birthday smile
    http://www.filmmusic.pl - Polish Film Music Review Website
  29. No one will ever be accused of anything as long as they listen to that score.

    I spent a bit of time with A Hidden Life yesterday. (Which sadly I’m still to see to completion- I’ve only seen the first half.)
    A butterfly thinks therefore I am
    •  
      CommentAuthorThor
    • CommentTimeSep 12th 2020
    franz_conrad wrote
    No one will ever be accused of anything as long as they listen to that score.

    I spent a bit of time with A Hidden Life yesterday. (Which sadly I’m still to see to completion- I’ve only seen the first half.)


    Best film of the year (it's a 2020 film in Norway), and best score of 2019. 'nuff said.
    I am extremely serious.

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