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      CommentAuthorThor
    • CommentTimeAug 12th 2018
    Yeah, that's the one I used. I've had the 2CD set forever, but its presentation has completely undermined my interest in it (despite all the adulations it has received here and elsewhere). Just exasperating, and too heavy on the 'horror' material. I have a feeling this presentation will do the trick.
    I am extremely serious.
  1. I think that was the one that Thor was referring to. I myself find the later 78 minutes program by Southern Cross to be my preferred representation.
    ... Oops. Didn't see Thor's response. smile

    Volker
    Bach's music is vibrant and inspired.
    • CommentAuthorDavid OC
    • CommentTimeAug 13th 2018
    Primeval - Dominik Scherrer

    Bought this in a Moviescore Media sale a year or so ago but haven't listened to it until now incredibly. Never heard another note of Scherrer's music but this brilliant. Epic, playful, lyrical with great diversity and superb action music throughout. There's something musically interesting going on in virtually every cue.
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      CommentAuthorCaliburn
    • CommentTimeAug 14th 2018
    DOOM - Mick Gordon

    Medicine for a boring project at work. RIP & TEAR!
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      CommentAuthorAidabaida
    • CommentTimeAug 14th 2018
    Lorne Balfe's "Stairs And Rooftops" from Mission Impossible Fallout is easily in my top 5 cues this year. Absolutely terrific musical storytelling, tremendous energy. What a cue. I really underestimated this score during my first listen.
    Bach's music is heartless and robotic.
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      CommentAuthorLSH
    • CommentTimeAug 15th 2018
    ^

    Right, so... I haven't heard the score yet but it seems that folk are warming to it, no? Upon it's release everyone was trashing it. Now we're recognising its merits... What's going on?
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      CommentAuthorErik Woods
    • CommentTimeAug 15th 2018
    LSH wrote
    ^

    Right, so... I haven't heard the score yet but it seems that folk are warming to it, no? Upon it's release everyone was trashing it. Now we're recognising its merits... What's going on?


    It was functional. Actually, I found it annoying in parts IN the film. Maybe it was a bad mix or that I'm just not used to the volume level in IMAX theatres (only my second IMAX film since Fantasia 2000... the other was Solo) but there were two action cues that had me plugging my ears. HOWEVER, I do suffer from tinnitus so that might have played into my annoyance of the music.

    On disc... the score is a chore. There are some interesting ideas... I love the twinkling piano motif and the fun Balfe had with the M:I theme (and his version of "The Plot" is sensational) but for the most part, it's a run of the mill modern day action score that I'll never reach for again.

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
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      CommentAuthorLSH
    • CommentTimeAug 15th 2018 edited
    Interesting. Well, my best musical memories of the franchise live well within Kraemer's effort (also the best film IMO). Still looking forward to seeing this new one though, they're always good fun.
  2. I find volume levels even in regular cinemas absurdly high these days. I always have plugs with me.

    Volker
    Bach's music is vibrant and inspired.
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      CommentAuthorSteven
    • CommentTimeAug 15th 2018
    The Meg Harry Gregson-Williams

    Though he is capable of writing good music, he also has an uncanny ability to write the most personality-less wallpaper imaginable. To be able to avoid writing hardly anything interesting throughout an entire score for a film about a giant shark is a skill in itself.
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      CommentAuthorThor
    • CommentTimeAug 15th 2018
    Steven wrote
    The Meg Harry Gregson-Williams

    Though he is capable of writing good music, he also has an uncanny ability to write the most personality-less wallpaper imaginable. To be able to avoid writing hardly anything interesting throughout an entire score for a film about a giant shark is a skill in itself.


    I largely agree. But the film was a lot of fun. Within the top 20 of the year so far.
    I am extremely serious.
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      CommentAuthorCaliburn
    • CommentTimeAug 15th 2018
    Big question, is it tense? Is it scary? I HATE those movies :P
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      CommentAuthorSteven
    • CommentTimeAug 15th 2018
    HGW has a habit of scoring exciting action films with dull music. On that basis, the film is probably a thrilling spectacle.
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      CommentAuthorThor
    • CommentTimeAug 15th 2018 edited
    Caliburn wrote
    Big question, is it tense? Is it scary? I HATE those movies :P


    It has a couple of jump scares, yes. But I'd label it more as tongue-in-cheek scary/tense. Lots of self-aware comedy going on (which usually is a put-off for me -- I tend to prefer films that take themselves extremely seriously -- but I think it worked in this case).
    I am extremely serious.
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      CommentAuthorLSH
    • CommentTimeAug 15th 2018
    If it's any better than Deep Blue Sea a small degree of success has been achieved.
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      CommentAuthorThor
    • CommentTimeAug 15th 2018 edited
    LSH wrote
    If it's any better than Deep Blue Sea a small degree of success has been achieved.


    I think DEEP BLUE SEA is a superb movie! Insanely underrated, but finally now starting to get the credit it deserves. Plus one of Rabin's very best scores. THE MEG is nowhere near that level, but it has a few narrative elements that clearly nod to Harlin's movie (especially the whole underwater research station thing).
    I am extremely serious.
  3. Steven wrote
    HGW has a habit of scoring exciting action films with dull music. On that basis, the film is probably a thrilling spectacle.

    Someone just needs to give him another big historical or fantasy epic. (I mean, most composers do better with those, but still. He really thrived.) He's wasting his talents with these endless anonymous action/thriller scores, although admittedly I found The Meg is a small cut above his usual standard for Tony Scott/Antoine Fuqua fare.
  4. I have to say that I have a lot of affinity for HGW's theme for The Equalizer. I think it very nicely describes the character's loneliness and grief.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorSouthall
    • CommentTimeAug 15th 2018
    The New World James Horner


    A ravishing piece of work.
  5. Southall wrote
    The New World James Horner


    A ravishing piece of work.


    Indeed. "All is Lost" and "A Dark Cloud is Forever Lifted" are among my most played cues.

    Volker
    Bach's music is vibrant and inspired.
  6. Captain Future wrote
    LSH wrote
    Captain Future wrote
    NP: Titanic (1997) - James Horner

    Essentially the original album augmented with
    - A Building Panic
    - The Portrait (Piano Solo)
    - and Nearer my God to Thee. (Is there a version without dialogue?)

    I omitted all the stuff later recorded with the London Symphony, since I am not too fond of that material.

    This is one of my all time favourite scores. Even so, I am fine with that playlist and don't see the necessity to pay 70 Euros for the La-La-Land edition.

    Volker


    It's worth noting that A Building Panic - as presented in the new album - is a completely different cue (the original is there too though). That piece, together with Trapped On 'D' Deck, offer around 16 minutes of previously unreleased (and pretty excellent) music from the sinking sequences... which were pretty much the only missing moments from the score I really wanted for ages.

    Probably not worth the expense but great stuff to have nonetheless.


    I checked out the material on YouTube and thought that "Trapped on D Deck" is highly redundant of "The Sinking". The cue "2.5 miles down" is great in context but of little interest away from the film.

    smile Volker


    So, despite all my above jabbering, when I discovered, that La-La-Land had marked their release as being temporarily out of stock (They have taken down the site now altogether.), I bought it in a fit of panic from my German retailer. I have jet to listen to it, but the set in itself is stunning. smile
    Bach's music is vibrant and inspired.
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      CommentAuthorThor
    • CommentTimeAug 16th 2018
    Southall wrote
    The New World James Horner


    A ravishing piece of work.


    It's superb. I could be without the chirping birds, though. Amazing to think that Horner was so completely unable to understand Malick's alternative vision and narrative (Horner was always very traditional/Hollywood-minded), yet composed such an inspired piece that really sounds like it's from a completely different film.
    I am extremely serious.
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      CommentAuthorSteven
    • CommentTimeAug 16th 2018
    Avengers: Infinity War Alan Silvestri

    The structure is there and Silvestri's dramatic flair is on display, supporting the film that lesser composers would struggle to achieve. But it stops short of having a life of its own outside the movie. It's calculated and effective but lacks heart. It's all very dramatic and yet quite boring. Such a shame that Marvel's biggest movie has one of the least interesting scores.

    I don't have high hopes for the next score.
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      CommentAuthorSteven
    • CommentTimeAug 16th 2018
    Ready Player One Alan Silvestri

    Much, much better. I love this.
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      CommentAuthorSouthall
    • CommentTimeAug 16th 2018
    Thor wrote
    Southall wrote
    The New World James Horner


    A ravishing piece of work.


    It's superb. I could be without the chirping birds, though. Amazing to think that Horner was so completely unable to understand Malick's alternative vision and narrative (Horner was always very traditional/Hollywood-minded), yet composed such an inspired piece that really sounds like it's from a completely different film.


    I can't believe Horner said yes to the film (had he no idea about Malick's films or methods?) and I can't believe Malick hired him, but in any case, the result was a beautiful, wonderfully-scored film (if not, largely, by James Horner) and a beautiful album, so all is well.
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      CommentAuthorSouthall
    • CommentTimeAug 16th 2018
    Braveheart James Horner


    An exceptional album (and in this case, film score). I own but have never yet listened to the expanded version - the fact that For the Love of a Princess is stuck at the end, after the end title, is so offputting I've just never felt like listening to it. Wonder how others have found it.
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      CommentAuthorThor
    • CommentTimeAug 16th 2018
    Southall wrote
    I can't believe Horner said yes to the film (had he no idea about Malick's films or methods?)


    I don't think so, if judging by the legendary old interview where he said it "had the potential to be a great love story, like TITANIC" or something to that effect. Ludicrous! I wish Horner had scored more non-Hollywood fare over his career. But as you say, as long as what we got was so good, everything is fine and dandy.
    I am extremely serious.
    •  
      CommentAuthorLSH
    • CommentTimeAug 17th 2018
    Captain Future wrote
    Captain Future wrote
    LSH wrote
    Captain Future wrote
    NP: Titanic (1997) - James Horner

    Essentially the original album augmented with
    - A Building Panic
    - The Portrait (Piano Solo)
    - and Nearer my God to Thee. (Is there a version without dialogue?)

    I omitted all the stuff later recorded with the London Symphony, since I am not too fond of that material.

    This is one of my all time favourite scores. Even so, I am fine with that playlist and don't see the necessity to pay 70 Euros for the La-La-Land edition.

    Volker


    It's worth noting that A Building Panic - as presented in the new album - is a completely different cue (the original is there too though). That piece, together with Trapped On 'D' Deck, offer around 16 minutes of previously unreleased (and pretty excellent) music from the sinking sequences... which were pretty much the only missing moments from the score I really wanted for ages.

    Probably not worth the expense but great stuff to have nonetheless.


    I checked out the material on YouTube and thought that "Trapped on D Deck" is highly redundant of "The Sinking". The cue "2.5 miles down" is great in context but of little interest away from the film.

    smile Volker


    So, despite all my above jabbering, when I discovered, that La-La-Land had marked their release as being temporarily out of stock (They have taken down the site now altogether.), I bought it in a fit of panic from my German retailer. I have jet to listen to it, but the set in itself is stunning. smile


    Don't be ashamed. There's actually a great deal to discover in this release. I love it.
  7. Southall wrote
    Braveheart James Horner


    An exceptional album (and in this case, film score). I own but have never yet listened to the expanded version - the fact that For the Love of a Princess is stuck at the end, after the end title, is so offputting I've just never felt like listening to it. Wonder how others have found it.


    I like the expansion, though, like most expanded releases (imo), it’s a bit of a chore to get through in one sitting. The liner notes are fantastic. If I remember right they explain why that track is at the end. Maybe it’s because it was a suite composed not for a specific scene in the film? I could be remembering that completely incorrectly. But those notes revealed for me an even richer thematic depth to that score than I already knew. It’s just an absolute masterpiece. “Romantic Alliance” is the highlight for me of the new material. It presents another variation on the love theme from “For Love of a Princess,” and while it doesn’t reach the heights of that track, but it’s still very lovely, and a welcome addition. Also, I didn’t realize how much synth music there was in that score until the expansion came out. I probably won’t return to those tracks often.
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      CommentAuthorLSH
    • CommentTimeAug 18th 2018
    E.T. THE EXTRA TERRESTRIAL - JOHN WILLIAMS

    Is, and always will be, timeless. What an absolute masterpiece.

    cool