HANS ZIMMER

It's not that. It's the insistant rhetoric, following all possible clichéed, Hollywood tropes to the tee. The only good thing about it was Kevin Costner, IMO.

I didn't care for that score. It didn't seem to do anything. I do look forward to seeing the film. I think it's an important story and should be more widely known.

It's totally fine Thor. I completely agree with you that it could have been better.

In case you haven't seen it, Hans Zimmer performed on the Late Show last night. It was pretty cool to see some film/tv music on one of these late night variety shows.

https://www.youtube.com/watch?v=NoHyuh0 … e=youtu.be

Nor am I, but there are a couple tracks from it that I come back to, and this is one of them.

Cool, thanks for the link. Sounds nice, but not something I feel like I have to rush out to get. George Fenton did a pretty fantastic job with the first one.

My review of THE BOSS BABY, for anyone who's interested:

https://moviemusicuk.us/2017/04/07/the- … e-mazzaro/

Jon

Don't forget earplugs. Or something like this. Have a good time!

Volker

have fun, we have to wait for a month to see (or hear) him on stage

*facepalm* I searched ZIMMER in all caps, since most of the composer threads are all caps. I wouldn't have thought there might be a low caps version, (or that the search function was dependent on it).

It seems the Dunkirk score was met with disappointment by one major critic.

"Another miscalculation is the score, by Hans Zimmer, a Jungian din of booming drums, bum-vibrating synth chords, and cawing string effects that loses much of its power by refusing to shut up," - Matt Zoller Seitz

Zoller Seitz also said that Maleficent was "bombastic and unmemorable" though.

Achievement indeed , but look here's the thing, what the two do, is always overanylyzed and hyped. I absolutely loved batman films and scores, inception and interstellar also films and scores, and i think interstellar is z's best work to date but i think we might be giving them extra grace because they are the two of them. When it comes to dunkirk, imagine what someone like Elliot Goldenthal would have done with it. Something that will make you shiver in awe in film and also work excellently as a standalone musical work. Instead, more than half the album is filled with either actual sfx (screams, bombs, sirens, bangs etc) that make you wonder if they put sfx from the film innit too (like they sometimes put dialogue) and the rest is musical instruments simulating effects. And the biggest problem i have is that the much praised string lines at the end, come as saviour to the audio mayhem we've been subjected at before and they are indeed welcome, but they are essentially sparse vangelis-esque strings and synths lines with no real structure or themes, nothing you can hum or remember once they end.

didn't like them at first, at all, but beginning to bear them slightly more and more as years go by

I'd much prefer it if it was musical instruments imitation - or even better, emulating sfx. Not actual sfx of screams bangs explosions etc, into music.