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[Closed] Now Playing XLVIII

General Discussions » Now Playing XLVIII (Posts 1471 to 1500 of 3470)

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    • CommentAuthorJosh B
    • CommentTimeSep 8th 2015
    Edmund Meinerts wrote
    Southall wrote
    Fantastic Four - Beltrami and Glass

    A bit of a chore to get through, really. I thought it might grow on me but it hasn't. Some very good parts, but not enough to make me want to give it another go.

    yeah, sounds like a pretty fair summary to me. Decent score but there are long stretches where it just kind of tinkers on in the background, and for this pair of names to produce something so pedestrian is pretty disappointing.


    I don't get the impression Beltrami is one of those composers who can write great scores for terrible films. Granted, there's very few who can.
  2. NP: The Dark Crystal - Trevor Jones

    I caught a bit of the film on TV the other day and I'd certainly sit through the entire film if I get the chance. Until then, I'll take a listen to the film score version of Jones' music.
    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
    • CommentAuthorTimmer
    • CommentTimeSep 8th 2015
    FalkirkBairn wrote
    NP: The Dark Crystal - Trevor Jones

    I caught a bit of the film on TV the other day and I'd certainly sit through the entire film if I get the chance. Until then, I'll take a listen to the film score version of Jones' music.


    Jones best score. ( Really, NO! It isn't Merlin )

    I saw the film on release and for its time it was incredibly visually imaginative, the Gelflin heroes have no "life" to them at all though. Far more attention should have been paid to making the heroes more charismatic and interesting.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  4. Timmer wrote
    I saw the film on release and for its time it was incredibly visually imaginative, the Gelflin heroes have no "life" to them at all though. Far more attention should have been paid to making the heroes more charismatic and interesting.

    Definitely not as charismatic as the puppet characters in the likes of Yonderland.

    https://youtu.be/Vn5ffiGx2fg
    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
    •  
      CommentAuthorSteven
    • CommentTimeSep 8th 2015 edited
    Josh B wrote
    I don't get the impression Beltrami is one of those composers who can write great scores for terrible films. Granted, there's very few who can.


    Yes he can. Beltrami is an excellent composer, despite the odd clunker. Secondly, I think it's a bit misleading to put it that way. The link between the quality of a score and its film is not solely decided by the quality of the film. There are various factors: the type of film, the director and of course the skill of the composer. Goldsmith could write great scores to crap films not because he had a specific skill set for it, but because he was a great composer who got lumped with plenty of crap films.
  6. Josh B wrote
    Edmund Meinerts wrote
    Southall wrote
    Fantastic Four - Beltrami and Glass

    A bit of a chore to get through, really. I thought it might grow on me but it hasn't. Some very good parts, but not enough to make me want to give it another go.

    yeah, sounds like a pretty fair summary to me. Decent score but there are long stretches where it just kind of tinkers on in the background, and for this pair of names to produce something so pedestrian is pretty disappointing.


    I don't get the impression Beltrami is one of those composers who can write great scores for terrible films. Granted, there's very few who can.

    Seventh Son and A Good Day to Die Hard beg very loudly to differ.
  7. I reworked and expanded my Hobbit Trilogy playlist For anyone interested it runs like this:

    1. Old Friends
    2. Misty Mountain
    3. An Ancient Enemy
    4. Roast Mutton (Standard Version)
    5. Moon Runes
    6. The White Council
    7. Over Hill
    8. Riddles in the Dark
    9. A Thunder Battle
    10. Dreaming of Bag End
    11. Erebor
    12. Song of the Lonely Montain
    13. The Quest for Erebor
    14. A Feast of Starlight
    15. Protector of the Common Folk
    16. Kingsfoil
    17. My Armor is Iron
    18. I See Fire
    19. Ruins of Dale
    20. The Clouds Burst
    21. Sons of Durin
    22. Ironfood
    23. Courage and Wisdom
    24. There And Back Again
    25. The Last Goodbuy

    This amounts to 105 minutes.
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorSteven
    • CommentTimeSep 8th 2015
    Air Force One Jerry Goldsmith

    I don't think it's hyperbolic to describe 'The Hijacking' as one of the greatest action cues ever written. It's masterful, both in and away from the film.
  9. Cool, I'll give this playlist a listen. I was listening to the complete recordings release of 'Fellowship of the Ring' today on a long drive and was wishing I got more (anything...) out of the 'Hobbit' scores. I doubt they'll suddenly click for me but you never know...
    •  
      CommentAuthorThor
    • CommentTimeSep 8th 2015 edited
    The scores are mostly pants, IMO, so I would be surprised if I could weed the whole trilogy down to half the listenable length of what you have there, Volker.
    I am extremely serious.
    •  
      CommentAuthorErik Woods
    • CommentTimeSep 8th 2015
    Captain Future wrote
    I reworked and expanded my Hobbit Trilogy playlist For anyone interested it runs like this:

    1. Old Friends
    2. Misty Mountain
    3. An Ancient Enemy
    4. Roast Mutton (Standard Version)
    5. Moon Runes
    6. The White Council
    7. Over Hill
    8. Riddles in the Dark
    9. A Thunder Battle
    10. Dreaming of Bag End
    11. Erebor
    12. Song of the Lonely Montain
    13. The Quest for Erebor
    14. A Feast of Starlight
    15. Protector of the Common Folk
    16. Kingsfoil
    17. My Armor is Iron
    18. I See Fire
    19. Ruins of Dale
    20. The Clouds Burst
    21. Sons of Durin
    22. Ironfood
    23. Courage and Wisdom
    24. There And Back Again
    25. The Last Goodbuy

    This amounts to 105 minutes.


    Here's mine!

    1. Erebor

    Aaaah....

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  12. I was obsessed with the "Lord of the Rings" scores when they came out and listened to them hundreds of times. I can barely get through a listen to the (admittedly ludicrously long) album releases of the 'Hobbit'.

    I listened to all three original Rings albums on Sunday, they're absolutely brilliant. Am I the only one who was just massively deflated by the whole experience of Shore's 'Hobbit' scores?
    •  
      CommentAuthorThor
    • CommentTimeSep 8th 2015 edited
    John Chambers wrote
    I listened to all three original Rings albums on Sunday, they're absolutely brilliant. Am I the only one who was just massively deflated by the whole experience of Shore's 'Hobbit' scores?


    No, I think you're in fairly good company. Around here, only Ralph Krum seems to enjoy them immensely. For me, LOTR and HOBBIT are absolutely night and day in terms of quality (both films and scores, although I DID like the first two HOBBIT films quite a bit).
    I am extremely serious.
  14. I DO NOT UNDERSTAND YOU PEOPLE. They are composed to exactly the same standard of orchestral and thematic complexity (which is, needless to say, an extremely high one). The only compositional factor that I feel is really diminished in the Hobbit scores vs. the Rings ones is the relative lack of long-lined melodic themes and statements thereof - and yes, that's a big loss, but surely it isn't so catastrophically deal-breaking as to create such polarized opinions.

    I just don't get it. crazy
  15. Edmund Meinerts wrote
    I DO NOT UNDERSTAND YOU PEOPLE. They are composed to exactly the same standard of orchestral and thematic complexity (which is, needless to say, an extremely high one). The only compositional factor that I feel is really diminished in the Hobbit scores vs. the Rings ones is the relative lack of long-lined melodic themes and statements thereof - and yes, that's a big loss, but surely it isn't so catastrophically deal-breaking as to create such polarized opinions.

    I just don't get it. crazy


    This. yeah I have reworked the playlist yet again and put all three end title songs at the end.
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorSteven
    • CommentTimeSep 8th 2015 edited
    Edmund Meinerts wrote
    I DO NOT UNDERSTAND YOU PEOPLE. They are composed to exactly the same standard of orchestral and thematic complexity (which is, needless to say, an extremely high one).


    The Hobbit scores stand on the shoulders of giants (the Lord of the Rings scores) by employing the same approach and techniques, but without the spark, flair and frankly heart of those original scores. The result is a lifeless pile of meh, despite the striking similarities to The Lord of the Rings. You've been conned.
    •  
      CommentAuthorSouthall
    • CommentTimeSep 9th 2015
    Lifeless is the word. Absolutely cannot stand those scores and the worst thing is they have even managed to tarnish the LOTR scores in my mind, meaning I don't ever want to listen to them either. Aargh! I really wish I could enjoy them the way others do.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorSteven
    • CommentTimeSep 9th 2015
    Poltergeist Jerry Goldsmith

    This should only be listened to late at night. I never listen to this when the sun is up, like quite a few Goldsmith scores. His weird-and-wonderful composing sensibilities make for great night time listening. Does anyone else find this? Certain scores for certain times of the day?
  19. I do listen to anything at any time of the day, but something like Poltergeist being listened to at night and by yourself does have an added level of tension associated with it.

    NP: Mein Herz In Chile - Marius Felix Lange

    German TV movie from 2008, this score is quite dramatic in style, mixing orchestra, percussion and a variety of ethnic influences for an interesting listen.
    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
    •  
      CommentAuthorSteven
    • CommentTimeSep 9th 2015 edited
    FalkirkBairn wrote
    I do listen to anything at any time of the day


    This is an Alien concept to me.

    But seriously. Really? Weird.
  21. NP: Histoire d'Un Conflit - various artists

    A collection of ominous and dark tracks from the Cezame Music Agency, there's an eclectic mix of cue from a number of different composers. Powerful strings one minute, small ensemble of brass players the next, percussion-only and then some synths: you never know what's going to be next.

    Composers include Marc-Olivier Dupin, Bernard Grimaldi, Bruno Letort and Cyrille Aufort.
    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
    • CommentAuthorTimmer
    • CommentTimeSep 9th 2015
    Steven wrote
    Poltergeist Jerry Goldsmith

    This should only be listened to late at night. I never listen to this when the sun is up, like quite a few Goldsmith scores. His weird-and-wonderful composing sensibilities make for great night time listening. Does anyone else find this? Certain scores for certain times of the day?


    Yes! And also certain times of the year if the seasons are playing ball ( UK seasons of course ), hot sunny summers, colourful Autumns etc. Big ask, I know. rolleyes
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorErik Woods
    • CommentTimeSep 9th 2015
    Steven wrote
    Edmund Meinerts wrote
    I DO NOT UNDERSTAND YOU PEOPLE. They are composed to exactly the same standard of orchestral and thematic complexity (which is, needless to say, an extremely high one).


    The Hobbit scores stand on the shoulders of giants (the Lord of the Rings scores) by employing the same approach and techniques, but without the spark, flair and frankly heart of those original scores. The result is a lifeless pile of meh, despite the striking similarities to The Lord of the Rings. You've been conned.


    yeah
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  24. Thor wrote
    John Chambers wrote
    I listened to all three original Rings albums on Sunday, they're absolutely brilliant. Am I the only one who was just massively deflated by the whole experience of Shore's 'Hobbit' scores?


    No, I think you're in fairly good company. Around here, only Ralph Krum seems to enjoy them immensely.

    Hä? When did I say something like that?!

    It IS true that I like the thematic material that is present in the scores, both new and old. I like how the themes grow on as the trilogy moves forward. I also tend to see it as the LOTR prologue that it is. Twenty years from now, people will watch the Hobbit movies first and then watch LOTR, and I think this offers a nice progression in score complexity and attractiveness, with RotK being the highlight, as it should be.

    BUT to say that I enjoy them immensely is not true. I've heard the first one maybe a dozen times completely, the second one maybe two or three times, only, and I've yet to find the time to give the third one a proper listen. I've picked some favourites from two and three here and there to listen to inbetween, but that's it.
    •  
      CommentAuthorMartijn
    • CommentTimeSep 9th 2015
    Steven wrote
    Poltergeist Jerry Goldsmith

    This should only be listened to late at night. I never listen to this when the sun is up, like quite a few Goldsmith scores. His weird-and-wonderful composing sensibilities make for great night time listening. Does anyone else find this? Certain scores for certain times of the day?


    Completely agree with Poltergeist: I think it's one of the creepiest scores in existence...and just as you don't watch a proper horror movie at two in the afternoon, shades drawn back to show a glorious sun illuminating the street where children play, you don't listen to a horror score during that time.
    It just doesn't work!

    But for the rest I'd struggle to really match any score againsta particular time of day or season.
    There are scores and types of music I tend to play more during certain time periods (The Empire Strikes Back in winter, western scores in summer) but that ahs everything to do with personal connotations and not so much with the effectiveness of the score).
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorMartijn
    • CommentTimeSep 9th 2015
    Steven wrote
    The Hobbit scores stand on the shoulders of giants (the Lord of the Rings scores) by employing the same approach and techniques, but without the spark, flair and frankly heart of those original scores. The result is a lifeless pile of meh, despite the striking similarities to The Lord of the Rings. You've been conned.


    That may be the single best analysis of The Hobbit scores to date.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorThor
    • CommentTimeSep 9th 2015
    Ralph Kruhm wrote
    BUT to say that I enjoy them immensely is not true. I've heard the first one maybe a dozen times completely, the second one maybe two or three times, only, and I've yet to find the time to give the third one a proper listen. I've picked some favourites from two and three here and there to listen to inbetween, but that's it.


    Sorry, I might have confused you with Edmund Meinerts.
    I am extremely serious.
  28. The big Hobbit defenders around here are myself, the Captain and Matt/Scribe, if I recall correctly. Also worth pointing out that this is pretty much the only film music forum I know of where liking the Hobbit scores puts you in a minority.

    Also, whether something has "spark" or not is pretty much up to the listener. I hardly feel I've been "conned" if I get more enjoyment out of something than you lot do.
  29. Thor wrote
    Sorry, I might have confused you with Edmund Meinerts.

    Or you've confused The Hobbit with Winter Soldier. You'd probably be right, then. Although I recall someone mentioning recently that he likes it, too.

    Back on the Hobbit business, although I'm not its biggest fan I do believe that it hasn't earned the shitstorm it's getting here. It's still a pretty decent, full-fledged orchestral score with lots of nice ideas and a perfectly great Best-of-all-album in there like the Captain suggested. I think the main problem is that the LOTR scores were introduced to us as shorter, arranged-for-release pieces of the whole cake which contained most of the worthy parts. They were already Best-of-albums and blew us away as such (although I remember a lot of discussions where even they were deemed forgettable over time - there is a general tendency here against Shore's Tolkien scoring, it seems). I think if you compare the Hobbit scores to the LOTR Complete Recordings, you will find the experience to be much more in line.
    •  
      CommentAuthorBregt
    • CommentTimeSep 9th 2015
    Ralph Kruhm wrote
    Thor wrote
    Sorry, I might have confused you with Edmund Meinerts.

    Or you've confused The Hobbit with Winter Soldier.

    biggrin
    Kazoo

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