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    • CommentAuthorDavid OC
    • CommentTimeDec 1st 2017
    Jungle - Johnny Klimek

    Excellent score for what was a mediocre film (though another fine performance from Daniel Radcliffe). For this rare solo venture Klimek has written a colourful, evocative score with a lot of diversity. I can see this going into my regular rotation in the forseeable future.
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      CommentAuthorThor
    • CommentTimeDec 1st 2017
    Captain Future wrote
    NP: The Lord of the Rings: The Fellowship of the Ring (2001) - Howard Shore

    Just when everybody thought John Williams' STAR WARS TRILOGY would never be equalled, along came Howard Shore with the Ring of Power. smile


    Shore's music is excellent, but doesn't even come CLOSE.
    I am extremely serious.
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      CommentAuthorAidabaida
    • CommentTimeDec 1st 2017 edited


    Shore's music is excellent, but doesn't even come CLOSE.


    Correct! Its so far ahead of Star Wars that its barely a contest. biggrin
    Bach's music is heartless and robotic.
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      CommentAuthorThor
    • CommentTimeDec 1st 2017
    tongue
    I am extremely serious.
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      CommentAuthorBregt
    • CommentTimeDec 1st 2017
    Thor wrote
    NP: CRASH (Mark Isham)

    One of the 10 best electronically driven scores ever written.

    Oh yes! I'll have a listen too. Extremely long time ago I spinned this one.
    Kazoo
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      CommentAuthorThor
    • CommentTimeDec 1st 2017
    NP: ANNA AND THE KING (George Fenton)

    One of my favourite Fentons!
    I am extremely serious.
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      CommentAuthorErik Woods
    • CommentTimeDec 1st 2017
    BobdH wrote
    I’m the opposite. I’d love to have these new presentations of the score, but I’m no fan of Mike Matessino’s masterings and this is no exception. The Arista album sounded so much better. Now, it sounds more dated than ever before. Why must this man do everything?


    What is it about his work that you don't like?

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
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      CommentAuthorWashu
    • CommentTimeDec 2nd 2017
    Paprika - Susumu Hirasawa

    Saw a critic at Indiewire mention this as one of the finest scores of this century so far and I don't get it. It works well in the film but aside from two catchy cues or so it is nothing special. Hirasawa's score to Millenium Actress is stronger as a whole.
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      CommentAuthorThor
    • CommentTimeDec 2nd 2017
    NP: HUMAN (Armand Amar)

    One of the very best scores of 2015. I love the Swedish lullaby, in particular. The film is pretty good too.
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeDec 3rd 2017 edited
    O NP just a little list of composers I’v been listening to during my time in Nepal Jon Barry, Williams, Goldsmith, Poledouris, Elmer Bernstein, Sakamoto, Legrand,Horner and more
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  1. Seven Years in Tibet?
    Bach's music is vibrant and inspired.
    • CommentAuthorTimmer
    • CommentTimeDec 3rd 2017
    Captain Future wrote
    Seven Years in Tibet?
    amongst others yes
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorAidabaida
    • CommentTime7 days ago
    Seiter's Recore is such an enjoyable score! I wish there was more from him available.
    Bach's music is heartless and robotic.
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      CommentAuthorSteven
    • CommentTime7 days ago
    Spider-Man 2 Danny Elfman

    Overall, Giacchino's score is my favourite. Maybe. But Elfman's sequel has highlights that top Giacchino's highlights. Maybe. I don't know. They're both great. (Although I suppose Giacchino's score wins slightly since there is hardly an Elfman score that doesn't suffer from Elfman's ability to write music you don't even realise you're hearing.)
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      CommentAuthorThor
    • CommentTime7 days ago
    I've not cared fully for a single of the SPIDER-MAN scores. But everyone, except for Giacchino's, have had highlight tracks.
    I am extremely serious.
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      CommentAuthorAidabaida
    • CommentTime7 days ago edited
    Steven wrote
    Spider-Man 2 Danny Elfman

    Overall, Giacchino's score is my favourite. Maybe. But Elfman's sequel has highlights that top Giacchino's highlights. Maybe. I don't know. They're both great. (Although I suppose Giacchino's score wins slightly since there is hardly an Elfman score that doesn't suffer from Elfman's ability to write music you don't even realise you're hearing.)


    there's this great moment in the first Spider-Man score where peter is chasing down his uncle's killer and the music just becomes this soaring, almost gothic powerhouse... that single moment just raises it so much in my estimation. But overall, Giacchino's is probably the most impressive. What an absolutely infectious theme.
    Bach's music is heartless and robotic.
  2. I've been trying to keep up on 2017 releases here at the end of the year. I've listened to a handful of recentish scores over the last couple days:

    THE SHAPE OF WATER - Desplat

    This was pretty strong. I thought the accordion was an odd choice to represent the creature, but after I got over that I think this is one of the better scores this year. Those last four tracks were really good.

    GOODBYE CHRISTOPHER ROBIN - Burwell

    This score was far gentler than anything I think I've heard from Burwell. There was some music here that I would be happy to come back to. I think it's one of my favorite scores from him, actually.

    WONDERSTRUCK - Burwell

    Another surprising entry from Burwell for me. It's much pleasanter than I generally expect from him, which some highlights that were truly excellent (I really liked "Runaways" and "Little Girl, Big City").

    THREE BILLBOARDS OUTSIDE EBBING, MISSOURI - Burwell

    This one didn't do much for me, but I'm sure it fits the film well, given the kind of story it tells. On it's own I though there wasn't much to it.

    ROMAN J. ISRAEL, ESQ - James Newton Howard

    This is Howard in his more serious drama mode, which I don't enjoy nearly as much as his fantasy scoring. I kind of think of this score as being in the same vein as PARKLAND or CHARLIE WILSON'S WAR. The only track that I felt rose above that was "Roman's Judgment," which I liked.

    KINGSMAN: THE GOLDEN CIRCLE - Jackman

    This one has been out for a while, but I hadn't heard it until just now. It's fun, thematic, and presented a far more epic rendition of "Country Roads" than I ever thought I would hear. I thought it was a pretty strong score and one of Jackman's best live action film scores. Anyone who liked the first will enjoy this quite a bit, I think.

    6 BELOW - Nathan Furst

    This one is pretty uneventful for the most part. The last two tracks give you something to listen to, but the rest wasn't really worth listening to, imo.
  3. Just listened to the cue "Roman's Judgment" on Youtube. If that was the highlight of "Roman J. Israel, Esq.", then that must have been a terribly skippable score. Meandering ideas, synths scapes, two build ups, a choir that appear to do anything other than add color. Yikes. It's not Junkie XL, but it's just as worthy of never being heard again.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
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      CommentAuthorWashu
    • CommentTime5 days ago edited
    Roman J. Israel, Esq. is a terribly skippable score. 2 stars out of 5. Nothing I want to ever listen to again.

    The Shape of Water - Alexandre Desplat

    A solid 3 star score, nothing special but pretty good nonetheless, maybe even his best score this year, but I have a feeling Valerian edges it for me. As usual Desplat's scores are overrated even if they are pretty good.

    The Fortress - Ryuichi Sakamoto

    I can't get into this which is the first miss (as a whole) for Sakamoto in a pretty long time. It has its moments of interest though, but for most part it is a bore.

    Tripoli Cancelled - Qasim Naqvi

    This is some of the best electronic film music of the year.
  4. Really?! I find Roman J. Israel to be one of JNH's most interesting non-fantasy score in recent years. And to me the highlights are actually the choral cues, one of which starts the album. I kinda snigger, when I think that JNH saw this film and thought

    "Hmm, what can I write for an autistic lawyer who gets into trouble? Ah fuck it, PLAINCHANT".
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorThor
    • CommentTime4 days ago
    NP: TRANSFORMERS: PRIME (Brian Tyler)

    I have no idea what this is (an animated show?), but it's my second favourite Tyler score after STANDING UP.
    I am extremely serious.
  5. Because it's a Jablonsky rip-off to large extent.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorThor
    • CommentTime4 days ago
    PawelStroinski wrote
    Because it's a Jablonsky rip-off to large extent.


    It is. But delightfully so. I love a good pastiche now and then.
    I am extremely serious.
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      CommentAuthorSteven
    • CommentTime4 days ago edited
    Thor wrote
    PawelStroinski wrote
    Because it's a Jablonsky rip-off to large extent.


    It is. But delightfully so. I love a good pastiche now and then.


    More emulation than pastiche. Pastiche usually refers to something that celebrates a particular style, where as Transformers Prime merely fits into a particular sound established by the first score. You wouldn't call a sequel score a "pastiche" of the first.
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      CommentAuthorThor
    • CommentTime4 days ago
    True.
    I am extremely serious.
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      CommentAuthorThor
    • CommentTime4 days ago edited
    NP: THE FRIGHTENERS (Danny Elfman)

    This is practically unlistenable. An armada of sturm und drang! I really can't stand 75% of Elfman's scores between the mid 90s and mid 2000s.
    I am extremely serious.
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      CommentAuthorWashu
    • CommentTime3 days ago edited
    PawelStroinski wrote
    Really?! I find Roman J. Israel to be one of JNH's most interesting non-fantasy score in recent years. And to me the highlights are actually the choral cues, one of which starts the album. I kinda snigger, when I think that JNH saw this film and thought

    "Hmm, what can I write for an autistic lawyer who gets into trouble? Ah fuck it, PLAINCHANT".

    To me it is pleasantly dull for most part, although I will admit that I liked it more on my other listen and willing to up it half a star to 2.5. Nothing horrible or bad, just nothing that stuck with me. The choral stuff is quite nice though and I like the vibe going on in some of the cues. I agree that it is better than some of his recent non-fantasy stuff too, it is more interesting/better than things like Bourne 4 etc, but again it is not exactly tough competition seeing how fairly weak JNH's recent non-fantasy scores have been. Nightcrawler was better than this, and I remember the choral parts of that score more fondly than what I heard in this one.

    NP: Get Out - Michael Abels

    One of the best movies of the year and the score which is quite Herrmann-esque is very good for most part. Out of the realistic candidates, I don't understand why this score isn't considered for an Oscar nomination. I don't like it that much for it to make my top 10 of the year, but out of what's realistic choices, it should at least be in the dicusssion for a nomination. The album isn't the best with too many very short cues around 1 minute which is a shame, but it is good stuff.

    Angels & Demons - Hans Zimmer

    Some of Zimmer's career best material can be heard in this score, specifically the cues 160 BPM and Science and Religion. As a whole it isn't top 10 Zimmer material, but it is in his top 20 I think.

    The Lovely Bones - Brian Eno

    Some of the best film music of 2009, I wish Eno did more scores. His For All Mankind score remains his best film score though by quite a distance.
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      CommentAuthorThor
    • CommentTime3 days ago
    Washu wrote
    NP: Get Out - Michael Abels

    One of the best movies of the year and the score which is quite Herrmann-esque is very good for most part. Out of the realistic candidates, I don't understand why this score isn't considered for an Oscar nomination. I don't like it that much for it to make my top 10 of the year, but out of what's realistic choices, it should at least be in the dicusssion for a nomination. The album isn't the best with too many very short cues around 1 minute which is a shame, but it is good stuff.


    I don't understand the big deal about this movie. I think it's overrated. Can't remember much of the score, though.

    The Lovely Bones - Brian Eno

    Some of the best film music of 2009, I wish Eno did more scores. His For All Mankind score remains his best film score though by quite a distance.


    Here we agree, though. Gorgeous score for a massively underrated movie.
    I am extremely serious.
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      CommentAuthorAidabaida
    • CommentTime2 days ago
    The Monkey King - Young

    I think this is one of the most creative scores I've heard for much time. Great stuff. smile
    Bach's music is heartless and robotic.
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      CommentAuthorAidabaida
    • CommentTime1 day ago
    10 Cloverfield Lane

    speaking of this movie, Goodman's performance of Howard is I think some of the best acting I've ever seen. I watched the movie 3 times and each time he is genuinely terrifying. perhaps its because his menace is real, not a megalomaniac looking to conquer the world. But there's something uncanny and accurate about him I've never seen in a film villain. Wow.
    Bach's music is heartless and robotic.