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      CommentAuthorBobdH
    • CommentTimeSep 7th 2017
    FalkirkBairn wrote
    Edmund Meinerts wrote
    ...I think Alan was agreeing with you! tongue

    I think Bob was too! I assumed that he was remarking on the people who don't seem to hear a difference.


    Yup, Alan is right, that remark was made towards the unconvinced, which surprised me.
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      CommentAuthorDemetris
    • CommentTimeSep 7th 2017
    benjamin wallfisch - it

    erm, mein got. why?
    Love Maintitles. It's full of Wanders.
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      CommentAuthorThor
    • CommentTimeSep 7th 2017 edited
    Demetris wrote
    benjamin wallfisch - it

    erm, mein got. why?


    I'm not sold on the horror material, but I thought the more melodic/nostalgic material was very lovely indeed. Certainly not a run-of-the-mill horror score these days.

    The film itself has its issues, and I'm confident it would have been more visionary in Cary Fukunaga's hands, but Muschietti is a good director (his MAMA was on of my top 10 list a couple of years ago). It's not particularly scary, though. More operatic. I wish it had nurtured the 80s aesthetic and nostalgia more; the coming-of-age part of it. But it's OK for what it is.
    I am extremely serious.
    •  
      CommentAuthorDemetris
    • CommentTimeSep 7th 2017 edited
    Thor wrote
    Demetris wrote
    benjamin wallfisch - it

    erm, mein got. why?


    I'm not sold on the horror material, but I thought the more melodic/nostalgic material was very lovely indeed. Certainly not a run-of-the-mill horror score these days.

    The film itself has its issues, and I'm confident it would have been more visionary in Cary Fukunaga's hands, but Muschietti is a good director (his MAMA was on of my top 10 list a couple of years ago). It's not particularly scary, though. More operatic. I wish it had nurtured the 80s aesthetic and nostalgia more; the coming-of-age part of it. But it's OK for what it is.


    is it watchable then? for standard horror / thriller night to pass a couple of hours smile
    Love Maintitles. It's full of Wanders.
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      CommentAuthorThor
    • CommentTimeSep 7th 2017
    Sure.
    I am extremely serious.
  1. SUPERMAN II - Ken Thorne / John Williams

    For some reason I seem to return to this one the most out of all the wonderful treasures that the FSM blue box holds. Supes II has always been one of my most wanted holy grails !

    Can't believe it's already out since 2008. shocked
    "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.
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      CommentAuthorThor
    • CommentTimeSep 7th 2017
    Don't you find it a bit on the skimpy side (performance-wise) compared to the first?
    I am extremely serious.
  2. No. That said, my favourite beyond the initial score is Alexander Courage's work featuring new original material by John Williams for Superman IV. That is a superb score.

    Volker
    Bach's music is vibrant and inspired.
  3. NP: Local Hero (1983) - Mark Knopfler, Alan Clark

    I don't care much about Knopfler's film music. This score is the exception. It's moody, lyrical and fun to listen to. The Going Home theme just has to put a smile on your face.

    Volker
    Bach's music is vibrant and inspired.
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      CommentAuthorThor
    • CommentTimeSep 7th 2017
    NP: BAMBI (Frank Churchill & Edward H. Plumb)

    One of Disney's very best films and scores. Not a lot of mickey-mousing; as with SLEEPING BEAUTY, it feels more like a symphonic tone poem.
    I am extremely serious.
    •  
      CommentAuthorBobdH
    • CommentTimeSep 8th 2017 edited
    Thor wrote
    Demetris wrote
    benjamin wallfisch - it

    erm, mein got. why?


    I'm not sold on the horror material, but I thought the more melodic/nostalgic material was very lovely indeed. Certainly not a run-of-the-mill horror score these days.


    From what I've heard of it, it's near schizophrenic in how on one hand the drama and general mood is quite classic and orchestral, nostalgic in the Super 8 sense, and then there's the horrible modern way of scoring horror with electronic beats which feels just wrong in this film. While Wallfisch also comes up with Herrmann-like strings and evil choir chants - WHY not go all the way with those?

    And then there's the HORRIBLE album presentation. Seriously? An hour and a half made up of 38 short tracks? It's not even LIKE an archival release anymore - it's a dump of cues as in an archival release. That's the problem nowadays. I'm perfectly fine with releasing a complete version as an alternative, but more and more they are releasing that version right away and I need to start prepping my listening sessions in order not to be bored stiff by each new album. Happy now, C&C completists?!
    • CommentAuthorTimmer
    • CommentTimeSep 8th 2017 edited
    Thor wrote
    Don't you find it a bit on the skimpy side (performance-wise) compared to the first?


    Is it a two part film Thor? A great book and it would make sense to have it in two parts. ( anyone who has read the book would know this )

    EDIT: I can't be bothered to change this but I was referring to Stephen King's IT.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  4. The River Wild (the Intrada release).
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      CommentAuthorThor
    • CommentTimeSep 8th 2017
    Timmer wrote
    Thor wrote
    Don't you find it a bit on the skimpy side (performance-wise) compared to the first?


    Is it a two part film Thor? A great book and it would make sense to have it in two parts. ( anyone who has read the book would know this )

    EDIT: I can't be bothered to change this but I was referring to Stephen King's IT.


    Yeah, I noticed. My post was about SUPERMAN II. smile

    But this new IT film is indeed the first chapter only. It's only about the kids. I'm assuming the second movie moves up to our time and the adults, just like the book and mini-series.
    I am extremely serious.
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      CommentAuthorThor
    • CommentTimeSep 8th 2017
    NP: WHITE PALACE (George Fenton)

    cool
    I am extremely serious.
  5. BobdH wrote
    And then there's the HORRIBLE album presentation. Seriously? An hour and a half made up of 38 short tracks? It's not even LIKE an archival release anymore - it's a dump of cues as in an archival release. That's the problem nowadays. I'm perfectly fine with releasing a complete version as an alternative, but more and more they are releasing that version right away and I need to start prepping my listening sessions in order not to be bored stiff by each new album. Happy now, C&C completists?!

    As one of the board's most pro-C&C advocates, I have to say I'm not. Living in an age of digital distribution there's no excuse not to be able to offer both, like you suggest: a concise album, and a complete edition for the real crazy folk like me (although I have to say I'm not looking forward to an hour and a half of horror material...if there's any film music genre that benefits most from judicious pruning, it's that one). I remember when the Hobbit scores came out and there was a "standard" and a "special" edition...great in theory...except the standard versions are like five minutes shorter and therefore succeed in pleasing absolutely nobody. What a joke. rolleyes

    An example done right is e.g. Oblivion, where there was a regular 70-minute album (okay, still plenty long, but reasonable) and a deluxe edition that added 45 minutes. Or Lorne Balfe's The Sweeney, where he released the complete score over iTunes after the regular CD had already been out for a week or so. I wish they would do that for every score.
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      CommentAuthorThor
    • CommentTimeSep 8th 2017
    Edmund Meinerts wrote
    I wish they would do that for every score.


    Here we are in total agreement.
    I am extremely serious.
    •  
      CommentAuthorDemetris
    • CommentTimeSep 8th 2017 edited
    BobdH wrote
    Thor wrote
    Demetris wrote
    benjamin wallfisch - it

    erm, mein got. why?


    I'm not sold on the horror material, but I thought the more melodic/nostalgic material was very lovely indeed. Certainly not a run-of-the-mill horror score these days.


    From what I've heard of it, it's near schizophrenic in how on one hand the drama and general mood is quite classic and orchestral, nostalgic in the Super 8 sense, and then there's the horrible modern way of scoring horror with electronic beats which feels just wrong in this film. While Wallfisch also comes up with Herrmann-like strings and evil choir chants - WHY not go all the way with those?

    And then there's the HORRIBLE album presentation. Seriously? An hour and a half made up of 38 short tracks? It's not even LIKE an archival release anymore - it's a dump of cues as in an archival release. That's the problem nowadays. I'm perfectly fine with releasing a complete version as an alternative, but more and more they are releasing that version right away and I need to start prepping my listening sessions in order not to be bored stiff by each new album. Happy now, C&C completists?!


    Why? it's because is considered cool these days (the horrible loud electronic bass and bangs), they even make orchestral composers like Rombi or Jusid compose drone crap like that.

    As for the rest, thank you. The discussion we had the other day at the other topic, on how bad the simple chronological cue sequence without proper album editing a listening experience most often is. Just lazily throwing the cues on a cd like they were recorded and produced for the film.
    Love Maintitles. It's full of Wanders.
  6. Thor wrote
    Don't you find it a bit on the skimpy side (performance-wise) compared to the first?


    Don't you mean wimpy? wink

    Well I don't care about that. It's good old-fashioned thematic scoring with emphasis on telling the story in a big symphonic way. That the performance by the orchestra is overall less than the first (or the fourth) has never stopped me from enjoying Thorne's approach. I see it as an arrangement, not as a full fledged score with its own identity like the maestro would do.
    "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.
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      CommentAuthorBobdH
    • CommentTimeSep 8th 2017
    Edmund Meinerts wrote
    BobdH wrote
    And then there's the HORRIBLE album presentation. Seriously? An hour and a half made up of 38 short tracks? It's not even LIKE an archival release anymore - it's a dump of cues as in an archival release. That's the problem nowadays. I'm perfectly fine with releasing a complete version as an alternative, but more and more they are releasing that version right away and I need to start prepping my listening sessions in order not to be bored stiff by each new album. Happy now, C&C completists?!

    As one of the board's most pro-C&C advocates, I have to say I'm not. Living in an age of digital distribution there's no excuse not to be able to offer both, like you suggest: a concise album, and a complete edition for the real crazy folk like me (although I have to say I'm not looking forward to an hour and a half of horror material...if there's any film music genre that benefits most from judicious pruning, it's that one). I remember when the Hobbit scores came out and there was a "standard" and a "special" edition...great in theory...except the standard versions are like five minutes shorter and therefore succeed in pleasing absolutely nobody. What a joke. rolleyes

    An example done right is e.g. Oblivion, where there was a regular 70-minute album (okay, still plenty long, but reasonable) and a deluxe edition that added 45 minutes. Or Lorne Balfe's The Sweeney, where he released the complete score over iTunes after the regular CD had already been out for a week or so. I wish they would do that for every score.


    I started to type a lengthy reply and then thought it'd be useless to have the same discussion in two threads, so I moved it towards the thread in which this is actually discussed. smile
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      CommentAuthorDemetris
    • CommentTimeSep 8th 2017
    frederik wiedmann - field of the lost shoes

    war-ish orchestral lyricism, horner-esque and beautiful. the themes are bold and memorable and the string section is sweeping. love this although it could be a dozen other scores like this, no identity or speciality, but it's so enjoyable nevertheless.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorThor
    • CommentTimeSep 8th 2017 edited
    Demetris wrote
    frederik wiedmann - field of the lost shoes

    war-ish orchestral lyricism, horner-esque and beautiful. the themes are bold and memorable and the string section is sweeping. love this although it could be a dozen other scores like this, no identity or speciality, but it's so enjoyable nevertheless.


    Definitely. I think it even made my Top 10 that year.
    I am extremely serious.
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      CommentAuthorThor
    • CommentTimeSep 8th 2017
    NP: MARY REILLY (George Fenton)

    When I bought this on a whim in the 90s, I didn't care for it. Too slow and meandering, I felt. But after re-acquiring it a couple of years ago, I've come to appreciate it for the dark, sensual tone poem that it is.
    I am extremely serious.
    •  
      CommentAuthorWashu
    • CommentTimeSep 8th 2017
    Dunkirk - Hans Zimmer

    Hm, it is pretty mediocre save for a few bright spots. Is this the weakest Zimmer/Nolan score to date? I think it is. It is 2.5 stars for me.

    My ranking of the Nolan/Zimmer collaboration from strongest to weakest score:

    1. Inception
    2. Interstellar
    3. The Dark Knight
    4. Batman Begins
    5. The Dark Knight Rises
    6. Dunkirk

    Valerian and the City of a Thousand Planets - Alexandre Desplat

    I don't get the hype nor the overly negative comments. It is pretty good though. It is better than the average Desplat score but not much better. 3 stars. A 10 or 15 so minute suite would suffice.
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      CommentAuthorThor
    • CommentTimeSep 8th 2017
    Washu wrote
    Dunkirk - Hans Zimmer

    Hm, it is pretty mediocre save for a few bright spots. Is this the weakest Zimmer/Nolan score to date?


    No, the weakest -- IMO -- is the BATMAN trilogy. I've never understood what people hear in that. The strongest is INTERSTELLAR, followed by INCEPTION. DUNKIRK might be the worst on album, though. I haven't really checked it out in that format yet; only in the film.
    I am extremely serious.
  7. Washu wrote
    My ranking of the Nolan/Zimmer collaboration from strongest to weakest score:

    1. Inception
    2. Interstellar
    3. The Dark Knight
    4. Batman Begins
    5. The Dark Knight Rises
    6. Dunkirk

    Switch the top two and I agree. It's a pretty overrated collaboration in general, IMO. I prefer Zimmer in other modes.
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      CommentAuthorAidabaida
    • CommentTimeSep 8th 2017
    john williams - Lincoln

    this type of score is so comfortable to listen to. there are no missteps. every note is purposeful. you can just let Williams carry you through minutes upon minutes of elegiac beauty.
    Bach's music is heartless and robotic.
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      CommentAuthorThor
    • CommentTimeSep 8th 2017
    Aidabaida wrote
    john williams - Lincoln

    this type of score is so comfortable to listen to. there are no missteps. every note is purposeful. you can just let Williams carry you through minutes upon minutes of elegiac beauty.


    Very formulaic by Williams standards (he can do Americana like this in his sleep), but it's a pretty good score nonetheless.
    I am extremely serious.
    • CommentAuthorDavid OC
    • CommentTimeSep 8th 2017
    Thor wrote
    NP: MARY REILLY (George Fenton)

    When I bought this on a whim in the 90s, I didn't care for it. Too slow and meandering, I felt. But after re-acquiring it a couple of years ago, I've come to appreciate it for the dark, sensual tone poem that it is.



    Can definitely relate to this Thor. I bought it at the time too - when my passion for film music was in its infancy - and likewise was bored stiff by it. But with the passing of years and my tastes having developed and changed in so many ways, scores like Mary Reilly have taken on new dimensions. It's superb.



    Rebel in the Rye - Bear McCreary

    The main theme might be the best thing he's ever composed. It's utterly brilliant and the opening track is one to replay again and again.
    The jazzy cues do little for me but the wonderful orchestral stuff accounts for what feels like his most mature dramatic score to date.
  8. Washu wrote
    Dunkirk - Hans Zimmer
    It is 2.5 stars for me.

    Agreed. But 2.5 out of 10.
    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