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Now Playing L

General Discussions » Now Playing L (Posts 1591 to 1620 of 4868)

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  1. NP: Dead Again (1991) - Patrick Doyle

    Whenever Patrick Doyle is forced to write a score without using his beloved clash cymbals (mostly), it results in something special. Dead Again is no exception. This Hitchcock-ian thriller directed by Kenneth Brannagh about a woman in modern Los Angeles who lost her memory, a detective who tries to help her find her true identity (and promptly falls in love with her), as well as a composer/pianist couple in late 1940s Los Angeles, both played by Brannagh himself and his then-wife Emma Thompson, is somewhat over-dramatic (as always with B.), but still very watchable. It's well cast (with guest roles by Derek Jacobi, Andy Garcia, and Robin Williams) and to this day one of the most beautiful love stories I've ever seen. The chemistry between Brannagh and Thompson is, for obvious reasons, fantastic, and the story takes a couple of twists and turns which were completely new and unexpected at the time the movie came out, but should still have some nice surprises for a more modern audience.

    Doyle delivers a score very much in-style with what Brannagh wanted to create here (and mostly succeeded), a thriller style reminiscent of the Hitchcock era (like JNH did so well with Signs), but also created a beautiful and haunting love theme, as well as a drama theme that features in the operatic work of Brannagh's composer character, so the score mixes with the real music in the movie, which adds only to the magic. The score features his most prominent signature moves from his early career, and manages to be both gentle and heart-warming (and -breaking) as well as epic and dramatic when needed.

    I love both listening to the score and watching the movie to this day. I must have seen it at least a dozen times over the years.
  2. Captain Future wrote
    I haven't seen the film in many years so I don't know what music is missing on the album. At 73 minutes it is already of generous duration. (The film has 126 minutes.) The sound also seems fine?


    I'm sure the sound can be improved upon, as great as it already sounds. There's a thrilling action cue during the first act of the film (the beast attack on the dwarf village), and some gorgeous female vocal music later on I really would like to have too. Willow's in my top 5 of my #1 composer so I must have everything. lick
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  3. THE RETURN OF THE KING - Howard Shore

    Once again a listen that features more than the first album but not quite the full release either. I enjoy this more than either one, because it holds more highlights, yet never becomes too long to get through. More than two hours of spectacular thematic scoring, the likes of which we don't hear anymore. Not even Shore seems able to repeat this, as witnessed by The Hobbit trilogy.

    But this... amazing and for the ages, along with the Star Wars original trilogy, it's my other favorite threesome.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  4. NP: Eddie the Eagle (2016) - Matthew Margeson

    You have fond memories of the 80s? Of Chariots of Fire, Fire & Ice, etc.? DX7, Synclavier, Jupiter 8 and Fairlight CMI sound like Stradivari in you ears? This album is for you!

    smile Volker
    Bach's music is vibrant and inspired.
  5. You forgot to mention the biggest inspiration. Days of Thunder. smile
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  6. So I did. beer
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorAidabaida
    • CommentTimeAug 19th 2017
    DreamTheater wrote
    THE RETURN OF THE KING - Howard ShoreNot even Shore seems able to repeat this, as witnessed by The Hobbit trilogy.


    Wut? sad The Hobbit had plenty of moments to equal this, see, "Beyond the Forest" for just one example!

    this is a sensitive subject
    Bach's music is heartless and robotic.
  8. Captain Future wrote
    NP: Eddie the Eagle (2016) - Matthew Margeson

    You have fond memories of the 80s? Of Chariots of Fire, Fire & Ice, etc.? DX7, Synclavier, Jupiter 8 and Fairlight CMI sound like Stradivari in you ears? This album is for you!

    smile Volker


    Margeson actually bought a lot of the vintage equipment off craigslist for the score. Makes me wonder, couldn't he borrow some of these next door? biggrin
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorThor
    • CommentTimeAug 19th 2017
    EDDIE THE EAGLE is bloody marvelous! I feel like I just lauded this score on the last page or so?
    I am extremely serious.
  10. Aidabaida wrote
    DreamTheater wrote
    THE RETURN OF THE KING - Howard ShoreNot even Shore seems able to repeat this, as witnessed by The Hobbit trilogy.


    Wut? sad The Hobbit had plenty of moments to equal this, see, "Beyond the Forest" for just one example!

    this is a sensitive subject


    The hours I spend in lonely heroism defending the Hobbit scores against the raging mob! wink biggrin
    Bach's music is vibrant and inspired.
  11. Thor wrote
    EDDIE THE EAGLE is bloody marvelous! I feel like I just lauded this score on the last page or so?


    I sometimes do take inspiration for my listening choices from what people say around here. beer
    Bach's music is vibrant and inspired.
  12. PawelStroinski wrote
    Captain Future wrote
    NP: Eddie the Eagle (2016) - Matthew Margeson

    You have fond memories of the 80s? Of Chariots of Fire, Fire & Ice, etc.? DX7, Synclavier, Jupiter 8 and Fairlight CMI sound like Stradivari in you ears? This album is for you!

    smile Volker


    Margeson actually bought a lot of the vintage equipment off craigslist for the score. Makes me wonder, couldn't he borrow some of these next door? biggrin


    I was mildly astonished to read that over at the Zimmer place. Not only, that he actually used the vintage equipment, not software emulations. Also I would have assumed, that every synth ever built was present at RC/MV headquarters anyway.
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorSouthall
    • CommentTimeAug 19th 2017
    Demolition Man Elliot Goldenthal

    Now this is brilliant. How this man's voice has been missed.
    http://www.movie-wave.net | http://facebook.com/moviewave
  14. Captain Future wrote
    Aidabaida wrote
    DreamTheater wrote
    THE RETURN OF THE KING - Howard ShoreNot even Shore seems able to repeat this, as witnessed by The Hobbit trilogy.


    Wut? sad The Hobbit had plenty of moments to equal this, see, "Beyond the Forest" for just one example!

    this is a sensitive subject


    The hours I spend in lonely heroism defending the Hobbit scores against the raging mob! wink biggrin

    Not too lonely, guys. knight

    the fact that they even need defending continues to boggle the mind
    • CommentAuthorjb1234
    • CommentTimeAug 20th 2017
    Captain Future wrote
    I haven't seen the film in many years so I don't know what music is missing on the album. At 73 minutes it is already of generous duration. (The film has 126 minutes.) The sound also seems fine?


    There's 94 minutes of score in the film (according to the sheet music). Most critically missing is a seven minute cue right in the middle of the film (Snowy Escape).
    • CommentAuthorTimmer
    • CommentTimeAug 20th 2017 edited
    Southall wrote
    Demolition Man Elliot Goldenthal

    Now this is brilliant. How this man's voice has been missed.


    Indeed it has and then some. Great album, short length is a perfect hit.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorDavid OC
    • CommentTimeAug 20th 2017
    Fargo S2 - Jeff Russo

    This is the best of what has been a trio of dazzling seasons of scoring for tv. The second half of this is particularly brilliant, full of idiosyncratic choices In terms of orchestration and themes. Combined with his equally fine music for Legion I think it's almost a certainty that Russo is going to break into feature films in a big way and sooner rather than later.
    https://2020filmsight.wordpress.com https://screenfanaticblog.wordpress.com
  18. He's got the new Star Trek show lined up, curious to see what he makes of it.
  19. Arrow: Season 1 (Blake Neely, additional music by Nathaniel Blume).
    • CommentAuthorDavid OC
    • CommentTimeAug 20th 2017
    Edmund Meinerts wrote
    He's got the new Star Trek show lined up, curious to see what he makes of it.


    I'm predicting he'll nail it Edmund. Definitely a composer to follow in coming years.


    41 - Mark Kilian

    Here's another case of a composer stretching himself. Who would've believed a South African could pull off a gorgeous, tuneful score with a strong vein of Americana running though it? Considering how heavily Kilian usually relies on electronics this is a wonderful surprise. (Though the film, about the 41st President, the nauseating Bush snr, is one I won't be bothering to track down.)
    https://2020filmsight.wordpress.com https://screenfanaticblog.wordpress.com
    •  
      CommentAuthorSouthall
    • CommentTimeAug 20th 2017
    Frida Elliot Goldenthal

    My god, this is exceptional. So passionate, so colourful.
    http://www.movie-wave.net | http://facebook.com/moviewave
    • CommentAuthorDavid OC
    • CommentTimeAug 21st 2017
    Rock Dog - Rolfe Kent

    Been ages since I've heard a new work from him and it's an atypical Kent score for an animated film. It's lively, colourful and befitting the plot, has occasional Asian colours mixed in. There’s a degree of mickey-mousing but overall this is an enjoyable listen.
    https://2020filmsight.wordpress.com https://screenfanaticblog.wordpress.com
    • CommentAuthorDavid OC
    • CommentTimeAug 21st 2017 edited
    Pantani: The Accidental Death of a Cyclist - Lorne Balfe

    Only 5 cues and 17 minutes long but this is brilliant, especially the third track 'Mont Ventoux'.


    https://youtu.be/mc3P1iCHlwM
    https://2020filmsight.wordpress.com https://screenfanaticblog.wordpress.com
    •  
      CommentAuthorDemetris
    • CommentTimeAug 21st 2017 edited
    Edmund Meinerts wrote
    Caliburn wrote
    Demetris wrote
    n.p. Fernando Velazquez- Lope

    Love, love this man. When he's not going into dark bassy drones that get him all tired and completely uninspired, just to pay the bills like all the rest, he can create some truly wonderful themes.


    I love The Impossible and Hercules.

    Hercules caught a lot of flak at the time for subscribing so heavily to modern action score tropes, but to be honest I think it's a more satisfying modern action score than many. "Bessi Battle" is an outstanding, relentless action setpiece, and the score even manages to make a four chords theme work for me without seeming irritatingly generic like e.g. the theme from Thor: The Dark World.

    Of course, maybe settling for a modern action score is a bad thing when it comes to Hercules...sure, we could and maybe should expect more, but once you get over that, I'm pretty satisfied with what we got.


    Very true. It was a very solid score (hercules) and agree with all your points. As for the film, lol. 'The Rock'. Need i say more? smile
    Love Maintitles. It's full of Wanders.
  25. Red Dawn (2012) - Ramin Djawadi

    Being very familiar with both the original movie and Basil Poledouris' score, I was pretty miffed by this remake's score when it came out. This is my first relistening since then, and I have to say that my opinion has changed quite a bit.

    Originally, I came into the score expecting some epic shit, because of Poledouris' original (though that one's use of synth hasn't aged well, at all), and because I was a kinda fan of Djawadi's remake score of Clash of the Titans and his first steps into the world of Game of Thrones. Obviously, Red Dawn is nothing like that and seemed to lack something for me.

    Five years later, and after five seasons of Person of Interest (also scored by Djawadi), which I loved as a series and grew quite fond of as a score, I was happy to discover on my second spin that this has been the unexpected big brother of said series all this time. Using the same kind of rhythm and style, it felt like listening to a somewhat larger finale to that series, and everyone who liked POI's score should give this one a respin. You'll definitely enjoy it. I mean, it lacks the playful nonsense-bullshitty heroic/militaristic style of the original that made Poledouris' score so enjoyable at the time, but finds itself more grounded in reality, which enables it to truly shine in its slightly more epic moments. Try "A Marine and his Rifle", and then "Finale" to get a sense of what I mean.

    So, if Ramin's POI scores have become an acquired taste for you over the years, this is a jewel.

    If not, you'll probably not change your mind. Whatever way it went back in 2012.

    But I'll certainly give this more spins now in the future than I had anticipated.
    •  
      CommentAuthorDemetris
    • CommentTimeAug 21st 2017
    PawelStroinski wrote
    Demetris wrote
    n.p. Fernando Velazquez- Lope

    Love, love this man. When he's not going into dark bassy drones that get him all tired and completely uninspired, just to pay the bills like all the rest, he can create some truly wonderful themes.


    What did you think of A Monster Calls?


    Nop, didn't like it at all. Generic and uninspired. Liked (not loved though) his 'crimson peak' score though.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeAug 21st 2017
    Aidabaida wrote
    EDIT!
    *static*
    maintitles.net is my favorite soundtrack review site. I am saying this out of my own volition and am not being threatened, coerced, or otherwise put under duress. my previous statement claiming tracksounds was my favorite is hereby amended. I am saying this out of my own volition.
    *static*


    biggrin
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeAug 21st 2017
    David OC wrote
    Earlier, abandoned Annabelle Creation - Benjamin Wallfisch

    Painfully generic, I gave up at around the half way mark. Will return to it again later perhaps but it's a real slog.



    Well, 'how to take a wonderful composer with lots of premise, dull him up and suck him dry of all his creative juices and toss him aside until the next one comes along 101' by remote control studios.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeAug 21st 2017
    Aidabaida wrote
    DreamTheater wrote
    THE RETURN OF THE KING - Howard ShoreNot even Shore seems able to repeat this, as witnessed by The Hobbit trilogy.


    Wut? sad The Hobbit had plenty of moments to equal this, see, "Beyond the Forest" for just one example!

    this is a sensitive subject


    Nah, hobbit , all three movies and scores, was a terribly dull and tired effort from all (shore included, whose output has been steadily declining in quality and inspiration since lotr) to make some more money off a dead horse. LOTR was magnificent in all aspects.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeAug 21st 2017
    Southall wrote
    Demolition Man Elliot Goldenthal

    Now this is brilliant. How this man's voice has been missed.


    Can't agree even more. Grand, massive, so complex, bold, proper composition with structure.
    Love Maintitles. It's full of Wanders.

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