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      CommentAuthorThor
    • CommentTimeOct 4th 2017
    I have no particular memory or fondness for the WINTER SOLDIER 'villain' theme, but I like the score overall. Quite underrated in its rawness and grittiness.
    I am extremely serious.
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      CommentAuthorDemetris
    • CommentTimeOct 4th 2017
    jb1234 wrote
    There was music in Winter Soldier?


    yes, and it kicked ass.
    Love Maintitles. It's full of Wanders.
  1. No it didn't. It's the worst Marvel score to date, even above Djawadi's hapless Iron Man score because as boring as that one was it never made me want to slice my ears off like Jackman's Winter Soldier "theme" or that godawful "Fury" cue.

    And I'm sorry, but how exactly is that a perfect representation of the character? The Winter Soldier is a good man who has been tortured and twisted and corrupted to become a soulless fighting machine. Any good theme for that character would be able to reflect both the menace he represents and the Bucky underneath who is fighting to get out. But Jackman completely ignores the Bucky half. The worst moment regarding that in the film is the post-credits scene of Bucky reading his own history in the museum. That scene teases that he is regaining his humanity. What does Jackman throw underneath it? The same damn screaming and scraping noises he threw under every other scene with the Winter Soldier in it. Wrong, wrong, wrong choice.

    I think it's hilarious that you hail this thing but call Joker's motif "unlistenable garbage" when the Joker theme is a far better representation of that character. Joker is an agent of chaos who wants to burn everything down. There's no redemption for him, so to go straight for the warped sonic madness is a viable choice. It's not much fun on album, but at least the thought process there makes sense for the character. Jackman's thought process started and ended with "what kind of scary noises can I throw at the wall for the scary guy with the metal arm?"
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      CommentAuthorDemetris
    • CommentTimeOct 4th 2017
    oh come on, nothing beats the crappy iron man score when it comes to crappy modern superhero scores. in fact debney's horrible iron man 2 as well wink
    Love Maintitles. It's full of Wanders.
  2. Debney's Iron Man 2 is fine. Its biggest problem is that it hardly ever uses its main theme.
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      CommentAuthorAidabaida
    • CommentTimeOct 4th 2017
    as we see in "Civil War" there isn't really regaining humanity for Bucky (He eventually decides to imprison himself in stasis). A few simple words can reactivate him into killing machine mode; that along with the machine arm creates perfect justification for the machinery noises.

    To me, the scream represents that buried humanity. It is organic, but twisted, tortured into something strange. I'm not sure what else you're expecting. Happy solo piano? Bucky's been tormented and packed into freezers and brainwashed for the last eighty years. What humanity is left would be screaming.

    And the Kazoo? rule of cool man.
    Bach's music is heartless and robotic.
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      CommentAuthorSteven
    • CommentTimeOct 4th 2017
    Demetris wrote
    oh come on, nothing beats the crappy iron man score when it comes to crappy modern superhero scores. in fact debney's horrible iron man 2 as well wink


    'Iron Man Battles the Drones' and the end track are fun.
  3. ^ And so is that corny Russian theme for Ivan Vanko/Whiplash, and the Monaco action cue. Plenty to like about that score!
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      CommentAuthorThor
    • CommentTimeOct 4th 2017
    The WINTER SOLDIER score is a thousand times more interesting than your average Marvel noise, which isn't even good RC pastiche most of the time. I don't really care about superhero movies (or superheroes in general), but the Jackman score for that movie was one of the major things that kept me interested in that film.

    Brian Tyler has a thing or two to learn from that score.
    I am extremely serious.
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      CommentAuthorAidabaida
    • CommentTimeOct 4th 2017
    I'm never quite sure what people are referring to when they say things like "Average Marvel Noise", or call it RC pastiche. Sure, there's the first Iron Man, but...

    Silvestri's soaring Captain America and thunderous Avengers?

    Beck's snazzy Ant-Man with its blistering 7/8 beat and jazzy action music?

    Elfman and Tyler's vintage powerhouse for Age of Ultron?

    Jackman's industrial Winter Soldier or his intricate, low-key Civil War?

    Tyler Bate's throwback, retro-synth-infused, Silvestri-esque, Guardians of the Galaxy?

    Giacchino's psychedelic, exotic, "Doctor Strange" or his groovy, youthful "Spiderman: Homecoming"?

    Patrick Doyle's soaring, majestic, "Thor"?


    the only scores I would describe as RC are Brian Tyler's two scores and Djawadi's one score.
    Bach's music is heartless and robotic.
  4. Doyle's owes quite a bit to RC to be fair (and Craig Armstrong's Incredible Hulk score, which is one of the best in the series but gets consistently forgotten along with its film, owes quite a bit of influence to Bourne), but no, they've generally avoided that. There isn't really a Marvel "house style" but generally they seem to stick to an action style that's modern and streamlined but still largely symphonic.

    I hope Brian Tyler never learns anything from Winter Soldier, Thor. In fact the best thing to learn from that score is to never do anything like it ever again.
  5. Edmund Meinerts wrote
    ...Craig Armstrong's Incredible Hulk score, which is one of the best in the series but gets consistently forgotten along with its film


    Thank goodness for that. In both cases. Anyway:

    Patrick Doyle's Dead Again in the expanded version. Thumbs up.
  6. Hey, what's wrong with Armstrong's Hulk score? That octave jump is such a perfect musical "hulk smash" representation, but he brings out the tragedy inherent in the character really nicely as well. And a ton of good action music to boot.
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      CommentAuthorThor
    • CommentTimeOct 4th 2017
    If not the RC sound, then it's almost always a massive wall of sound. THE WINTER SOLDIER tried to do something different; some of it wouldn't have been out of place in a more artsy sci fi, even (like UNDER THE SKIN or something). That's why I liked it. It's gruelling and gritty, and has a forward momentum that isn't just all about loudness and bombasticism.
    I am extremely serious.
  7. I am Connor MacLeod of the Clan MacLeod. I was born in 1518 in the village of Glenfinnan on the shores of Loch Shiel. And I am immortal.

    NP: Highlander (1986) - Michael Kamen; Brian May
    Bach's music is vibrant and inspired.
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      CommentAuthorAidabaida
    • CommentTimeOct 4th 2017
    Edmund Meinerts wrote
    Hey, what's wrong with Armstrong's Hulk score? That octave jump is such a perfect musical "hulk smash" representation, but he brings out the tragedy inherent in the character really nicely as well. And a ton of good action music to boot.


    agreed! that's such a good score.
    Bach's music is heartless and robotic.
  8. NP: High Noon (1952) - Dimitri Tiomkin

    A true classic!
    Bach's music is vibrant and inspired.
  9. NP: The Witches Hammer - Mark Conrad Chambers

    A vampire movie from 2006 which, by all accounts, is a pretty poor film. Chambers' 'Witches Hammer' theme is quite catchy but there's little in the score itself to suggest 'horror movie'.
    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
  10. NP: The Exorcism of Molly Hartley - Corey Allen Jackson

    I'd never heard of this straight-to-video horror movie until I came across Jackson's score. One of these unsettling scores that relies a lot on echo-y pianos, disturbing soundscapes and a sprinkling of wailing vocals. But Jackson does quite a good job with what he has to work with.
    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
  11. NP: Beyond The Black Rainbow - Jeremy Schmidt

    Not sure whether this is movie can be called a horror film from what I am reading but there are several lists of horror scores that feature this one. The score enfolds the listener with 80s-inspired synth washes for the most part.
    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
  12. NP: Resident Evil: Apocalypse - Jeff Danna

    There's a couple of things I think about this score/album: firstly, I remember being surprised Danna's name being associated with this project - I'd only heard him composing more sedate films - and, secondly, the album never really recovers from a couple of killer tracks that are heard early on - "Alice Battles The Nemesis" and "The Nemesis vs. S.T.A.R.S.". I do enjoy this one though with it's mix of propulsive bass lines and frenetic strings.
    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
  13. NP: The Conspiracy - Darren Baker

    Quite a mix of styles in this one, with them all conspiring to create an uneasy feel. It's all very listenable though.
    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
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      CommentAuthorCaliburn
    • CommentTimeOct 5th 2017
    NP: Henry Jackman, Matthew Margeson - The Kingsman: The Golden Circle

    Love this score, especially the new Golden Circle Theme
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      CommentAuthorDemetris
    • CommentTimeOct 5th 2017
    Armstrong's Hulk is bland, shallow, boring. Like many of his work during the last 10 years or so with few exceptions.
    Love Maintitles. It's full of Wanders.
  14. Demetris wrote
    Armstrong's Hulk is bland, shallow, boring. Like many of his work during the last 10 years or so with few exceptions.

    You're weird. dizzy
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      CommentAuthorDemetris
    • CommentTimeOct 5th 2017
    If you compare his older scores and two gorgeous solo albums that also influenced his film music (the space between us and as if to nothing), with what he generally puts out today, with few exceptions like # 2013: The Great Gatsby and # 2015: Far from the Madding Crowd you'll notice the difference. Starting point was 2004' very bad 'the clearing' imo.
    Love Maintitles. It's full of Wanders.
  15. Well those two scores are strong enough, no? It's not like he does much more than one score a year anyway. And I quite enjoyed Victor Frankenstein as well. And Elizabeth: The Golden Age. And clearly we disagree on Hulk.

    I don't know, D, I feel like you like to see composer crises where there aren't any... tongue
  16. NP: Blade Runner 2049 (2017) - Benjamin Wallfisch

    They emulate some of Vangelis's sonic textures rather well. Trouble is, you float from one track into the other without noticing it. It's a lot of the same, very ambient, next to no melody. This should work well as background music when you are in the right mood. But nothing here stays in mind. It pales in comparison with the original score.

    Volker
    Bach's music is vibrant and inspired.
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      CommentAuthorDemetris
    • CommentTimeOct 5th 2017
    Captain Future wrote
    NP: Blade Runner 2049 (2017) - Benjamin Wallfisch

    They emulate some of Vangelis's sonic textures rather well. Trouble is, you float from one track into the other without noticing it. It's a lot of the same, very ambient, next to no melody. This should work well as background music when you are in the right mood. But nothing here stays in mind. It pales in comparison with the original score.

    Volker


    why no zimmer credit? smile btw now that you mention it, I was thinking today during my listens, that in order to enjoy this ... thing, you ought to be under the influence of some substance of some sort wink
    Love Maintitles. It's full of Wanders.
  17. Demetris wrote
    Captain Future wrote
    NP: Blade Runner 2049 (2017) - Benjamin Wallfisch

    They emulate some of Vangelis's sonic textures rather well. Trouble is, you float from one track into the other without noticing it. It's a lot of the same, very ambient, next to no melody. This should work well as background music when you are in the right mood. But nothing here stays in mind. It pales in comparison with the original score.

    Volker


    why no zimmer credit? smile btw now that you mention it, I was thinking today during my listens, that in order to enjoy this ... thing, you ought to be under the influence of some substance of some sort wink


    My lapse because I am under the influence of a certain substance: Scotch. smile
    Bach's music is vibrant and inspired.