[Closed] Now Playing XLVI

The more and more I find out about Morricone (not a huge expert, to say the least, sadly), the more I realize how I like his avant-garde sensibilities, I think it's a quite special twist on atonality. It's very challenging, but at the end, I find it sometimes much more rewarding than his even most exquisite themes.

I should give Lincoln another try.

The film is one of the most tediously boring I've ever seen. Full of over-bloated worthiness.

I don't share that sentiment at all. I usually dislike dialogue-heavy films, but there was so many stylistic, audiovisual things to enjoy here that it weighs up for that. But it did take me a couple of viewings to come to that evaluation.

I agree with you on REDS, though. What a borefest! Even my favourite actor Nicholson can't save that. But Warren Beatty is no Steven Spielberg. Not that much to latch on there in terms of style. It's all about the political content.

I've seen it four times.

You have an appetite for torture, obviously. I think a third viewing would have the inmates of Guantanamo Bay singing like canaries.

Regarding Desplat / Williams:

What i said wasn't to be taken as such and it's my fault i didn't make it clear enough; i meant it clearly in musical terms, not comparative. As a man who knows how to handle modern orchestra for modern film scores nowadays, the way Williams did in the previous decades. As a man who's one of the last few paper and pencil type of composers from scratch, from note one. A composer who's numero uno when it comes to modern orchestral approach, someone who understands arrangements and proper instrumentation, knows how to write purely for orchestra and makes those scores come alive. In a generation when most other composers simply translate piano-written scores to orchestra, or synths and samples to orchestra. So, you know, calm yo tits

NP: LE MAGASIN DES SUICIDES (Etienne Perucchon)

Old-style, Kurt Weill-like animated musical from France. Some resemblances to Elfman's NMBC. It's very "French", though.

Melbourne 2006 Commonwealth Games Christopher Gordon

It was this that turned me into a Gordon fan. Love at first listen. It's short, at just under 25 minutes, but it's magnificent. Just...magnificent. It soars.

I thought Season 4 was by far the least interesting of that show's music so far (although I'm not a big fan of it in the first place). Usually there's two or three highlight cues per season, but I struggle to find even that here. "The Children" maybe, but that one's pretty similar to other cues from the previous scores like "Mhysa".

"Red Eye" (Beltrami)
Picking good parts for suite purposes.

I saw the film years ago on TV and had remembered liking the score, so a couple or so years ago I traded for the complete (well, probably complete) score.

So far I'm only five cues in and I've only liked one cue. Sometimes a score isn't what you remembered. I'll see what happenes here...


EDIT:
I'm skimming threw portions of cues. I was wrong -- this is not what I thought I remembered from the film. The film was good, the score, not so much. What a hodge-podge of missed oppritunities and suspense cliches, mixed with this modern synth and light percussion meandering underline in some parts.

In the two part climax cues at the end, some effort was finally put in and there were some spurts of meaty material with some originallity.

It was a good suspenseful film and it deserved a better score. I'm sure there was a theme in there somewhere, but it was as quickly forgotten as it played out. And it was only there for certain passages, otherwise the score went into cliche strings, thumps and bangs, brass crescendos, and "Boo!" moments; it was so vague and nondescript you could expect the bulk of this to come from just about any composer.

ALEXANDRE DESPLAT - Godzilla

Kick-ass!

Totally agree on Monuments Men.

NP : ANIMA MUNDI - Philip Glass