The Golden Compass

Hmm ok, how well does the score fit in?

in general ok (especially the Mrs Coulter track and the Dust-theme)
but sometimes, it's annoyingly loud, like when Lyra runs away, or during the bear fight
and the "riding Iorek" track is strangely used - it's rather optimistic, heroic music but the part in the movie where it's used, isn't at all...

I saw the movie just an hour ago and I have to say its good but not brilliant, especially the first part it seems like badly edited and moving from one thing to another. From the moment Iorek the bear enters the screen and story it becomes much more interesting. The bear fight is definitely sublime solely because of the brilliant bear movement and effects and the end fight is good but not special. I have to say that the story isn't that strong, or at least strongly put to screen but Dakota Blue Fanning and a brilliant Ian McKellen sure give some extra weight to the movie

As for Desplat's score I have to say I wanted more from him, just like the movie the first part is nothing that special, sure the moments are there but nothing that can warrantee repeated listens, but just like the second part its becoming more interesting, stronger, louder (I like them strong and loud Marie-Lise ) and from the bear fight to the final coda all the themes sound much more epic. I perhaps hoped for just a tad more but the second part stilled my appetite, however as a whole its not brilliant but fairly good (this means both the movie and score)

Naturally you don't pick everything up in a movie, so the soundtrack release will surely show a lot more surprises This one I'll let Bregt review, just because he knows his Desplat scores

Movie: 7 out of 10
Score ***1/2 or **** for now

Just came back.
Not having read the book, I was seriously underwhelmed by the film's plot ("there will be a child, which the prohecies have foretold will after a great war bring balance to the Fo... Dust. Spice. Whatever." ). The story, such as it is, bubbles along nicely along a pretty standard Quest template, with the odd deus ex machina (witches, talking bears, googlemeter or whatever that golden thing is called) pushing things along when actually explaining things would apparently take too long.

But then an actual plot really isn't all that important: from the get-go it's pretty clear we're dealing with a Fantasy setting, which, for all its own idiosyncracies, still conforms to Jungian archetypes, so we don't have to work too hard to understand what's happening or what is to follow.

In fact I'll give the eventual ending of the epic away now: the quest ultimately will be successful, even though noble sacrifices are made and tragic losses occur, the Evil Empire/Magisterium/Inquisition/Queen is vanquished forever in a great battle (that only just is won by a heroic effort/sacrifice from Lyra) and free will, joy, happiness and balance is restored throughout the Multiversa.
Voila.
The next two films.

So it's not the content that counts, it's how it's given form in this particular vision.
And I must say it's pretty darn addictive!

It certainly helps that there's a darn reliable secondary cast, headed by the always redoubtable Sam Elliott (a really nice surprise to see!), Derek Jacobi and Daniel Craig. The dialogue might have been over the top, but the cast is more than capable enough to inject some serious earnesty into the concepts so that, the odd Rowlingsism notwithstanding ("gobblers"...ye gods. ), the audience is more than happy to go along with it all.

Kudos should also go to the director of photography, as the scenery looks astounding, without actually taking too much of the attention away from the cast or dialogue or distracting from the action.

But it's the art direction that really takes the cake here.
The "steampunk" design of this dimension is an absolute joy to behold and is flawlessly blended into the story. Everything looks right at home in its surroundings, whether it be bears, zeppelins, University lectors or gypsy piraty types: it's all just looks just so bloody good! Even the odd concept of everyone having a "spirit animal" walking beside him or her isn't an obstacle to suspension of disbelief after the first thirty seconds or so: so good the animals look and so flawlessly they interact with the actors and their surroundings. The clothes are beautiful, the lighting is magnificent. All in all, it's just an absolute visual banquet, which works so well though -as said- only because it's not "in your face" special effects.

Desplat's score is most functional, without many standouts rather than the main titles which are quite lovely. He's far more subdued than Gregson-Williams or Shore on "those other films", which is just fine.

All in all, I've had a most pleasant, though not very intellectually uplifting evening, from which I'm happy to take a way visions of beauty, and the hope that part two will be as enjoyable.

Are you sure you want to be a part of this?
Apparently the film bothers some people...

I was only kidding.
While apparently I understand there is a certain Paradise Lost sensibility to the books (which I don't understand anyone could mind), there's virtually nothing left of it in the film. And even if there wereit could easily be construed as some sort of light counterweight to the blatant evangelical message of Narnia (which, by the way, was also pretty diluted to the point of absence in the film).

oops, its indeed Richards, Dakota gets me every time

Oh Lord no.
Two hours is plenty (even if the 'exposure' information in the first ten minutes is a bit much... but at least it gives a good pace to the film). I don't think I would have been able to stand an extra hour though. The material (as presented in the film) simply isn't wealthy or robust enough for it.

No, two hours is just fine.
(I even though Narnia was way overlong...but then I didn't enjoy that film much at all. Cut it down to about 90 minutes with my remote control and the Fast Forward button...)

Thanks for your comments regarding to the visuals, Martijn. I´m totally able to ignore any shortcomings of a movie if it has to offer something out of the ordinary, and your review was the final straw to convince me to give it a shot in theatre. I can absolutely have a blast with Episode 1 just by watching the phenomenal desing work, so Golden Compass should do well enough.

I think the budget was around 150 million, not 250. Well, according to IMDB anyway.
I have no idea where the 8 million comes from, but I doubt it's a global figure (and if it's only one country, then the film will have made its money back by the end of next week!). And for Heaven's sake, it's only out like three days! I think it's a bit hard making predictions based on those numbers alone!

There'll probably be a more consistent opportunity for analysis in January, I would think.

Well, both Eragon and Compass started their trailers with "the next big thing after LOTR", followed by stuff that actual wasn´t convincing enough. You always get the fantasy fans, but to get a broad audience, you have to do better than that.

Yup.

That's what i am saying too so thank you; (Although the "I've never really caught onto this Desplat frenzy." tag doesn't apply to me)

Well, it is an alternative universe, gentlemen. We're lucky they still speak the most important language in the world, English.

If 'talking animals' really are all the daemons seem to be, then they're really bungled this film in a major way. A shame, as I'd heard that aspect of the adaptation wasn't bad.

(And beware latching onto Thor's views on music too much Demetris. You'll be trumpeting Hans Zimmer's symphonic prog rock as the greatest thing in film music since Harold Faltemeyer if you drink from that well. 'Melodic finesse' my hat. )

That's not how it came across to me.
I still find the whole "soul" aspect faintly ridiculous, but these animals seem to hold different functions for different people. Lyra's shapechanger seems to be challenging/confronting her continously with personality aspects that are seemingly absent from herself (or she doesn't want to deal with). Mme. Coulter's seems to have a very disturbing hate/love relation with her baboon.

Unfortunately that's the two most complex ones.

For the rest it seems the animals are extensions of their "owner"'s personalities: Asriel's quiet and strong panther. All the minions' slavish dogs. The Coassack's fiery wolf hounds.
Pretty two-dimensional.

I'm not sure what that all means in terms of psychology or spirituality though. Split personalities? Your own Jiminy Cricket? Shamanic Rite of Passage issues? It's not extensively researched in the film, that's for sure.