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      CommentAuthorThor
    • CommentTimeDec 11th 2017
    Aidabaida wrote
    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.


    Good potboiler of a movie.
    I am extremely serious.
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      CommentAuthorLSH
    • CommentTimeDec 11th 2017
    NP: OUT OF AFRICA - John Barry

    cool
  1. I have come to prefer the McNeely re-recording. smile
    Bach's music is vibrant and inspired.
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      CommentAuthorAidabaida
    • CommentTimeDec 12th 2017
    Daft Punk's Tron: Legacy continues to grow in my estimation.
    Bach's music is heartless and robotic.
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      CommentAuthorThor
    • CommentTimeDec 12th 2017
    Aidabaida wrote
    Daft Punk's Tron: Legacy continues to grow in my estimation.


    Good. Alltime Top 50 soundtrack for me, and one of the very best in the 2010s.
    I am extremely serious.
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      CommentAuthorCaliburn
    • CommentTimeDec 13th 2017
    Still sad that TRON 2 (or 3) is canceled for that reason.

    Joseph Trapanese's score for TRON: Uprising is pretty good as well.
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      CommentAuthorAidabaida
    • CommentTimeDec 13th 2017
    Caliburn wrote
    Still sad that TRON 2 (or 3) is canceled for that reason.

    Joseph Trapanese's score for TRON: Uprising is pretty good as well.


    the movie is very underrated; its quite entertaining and has enough thematic depth so that you don't have to completely turn your brain off. I would've loved another Tron movie.
    Bach's music is heartless and robotic.
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      CommentAuthorAidabaida
    • CommentTimeDec 13th 2017
    A Ghost Story

    this is the score of 2017 for me. a flat out stunner of a score to a flat out stunner of a movie. "The Secret in the Wall" is almost transcendent in its beauty.

    my goodness.
    Bach's music is heartless and robotic.
  2. I gave that track another listen based on your praise and you're right. It's lovely.
  3. THE RENDEZVOUS - Austin Wintory

    Austin Wintory just isn't like mainstream film music composers, in a good way. His music is just different. I hadn't heard anybody mention this film score, so I thought I would give you all a quick run-down. And it is a film score, not a video game score. If this is any indication of what he can do with a feature-length film, I hope he gets many more of them.

    I had to give this one a couple listens to come around on it. The first half is a little low-key, so I didn't really sit up and notice it until the second half, but was so impressed that I needed to go back and play it from the beginning.

    It's got a great main theme. The first time you hear it, in the opening "The Rendezvous", it's warped and strange-sounding. Later in the track you get the main theme in a more standard variation.

    There's a really lovely version of the main theme with some light jazz percussion in "Do You Feel Like Breaking the Rules?"

    You get some Spanish influence in "Are You Gpsing This?" with some subtle guitar and castanets that gradually become less subtle. The theme weaves through the track a couple times with the Spanish orchestration, which makes for a cool variation. The Spanish influence is back in "I Don't Do Guns", one of the more energetic cues on the album.

    My favorite presentation of the main theme comes in the track "You're Not Alone." The cue presents the main theme a couple times in the first half in a more subtle way, but about half-way through you get some very lovely strings, a solo piano version of the main theme, and then orchestra plays the main theme in a way that reminds me of most gorgeous parts of Wintory's JOURNEY.

    "Strangely in Love" has an almost golden-age feel to it, or maybe it's just more classical-sounding. Either way, it's one of the score's most romantic moments.

    "I Will Kill You for It" must accompany the film's action climax. I like the way Wintory has scored it - not in the hyper-frenetic action style of so many modern action scores, but again in a much more old-school way. It's still full of energy and has some pretty quick-paced orchestral grandeur, especially about half-way through. After that the track gets more suspenseful.

    "It's a Big Scar/Claire De Claire" is a lovely denouement for the score. It features a piano version of the main theme that starts out with jazz inflections, shifts to Spanish, then middle-eastern, then gets very waltz-y, then more classical, but never quite loses it's jazz feel. I really love the last ~1:11, which is just a really happy way to end it all. It really is an impressive composition.

    It might not make it into my top 10 for the year, but it's one of the better scores I've heard. I think it deserves a listen for sure, and is just different enough from most of what I've heard this year that it excited me to hear it and play through it again looking more closely at it.
  4. NP: The Force Awakens (2015) - John Williams

    I revisit this splendid score before the The Last Jedi CD touches down here tomorrow. The film I will see in a week or so.
    EDIT: I'll see the film Saturday night. smile

    Volker
    Bach's music is vibrant and inspired.
  5. I need to listen to Rendezvous. I chatted with both the director and Austin a few times. They're great guys.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorBobdH
    • CommentTimeDec 14th 2017
    THE LAST JEDI JUST HIT APPLE MUSIC SO IF YOU’LL EXCUSE ME I’M GONNA RETREAT AND LISTEN NOW!
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      CommentAuthorAidabaida
    • CommentTimeDec 14th 2017
    BobdH wrote
    THE LAST JEDI JUST HIT APPLE MUSIC SO IF YOU’LL EXCUSE ME I’M GONNA RETREAT AND LISTEN NOW!


    I listened to a few clips, but I'm gonna wait until I see the movie tommorrow ;-)
    Bach's music is heartless and robotic.
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      CommentAuthorBobdH
    • CommentTimeDec 15th 2017 edited
    John Williams - Star Wars: The Last Jedi

    Oh man, that was AWESOME. This SO exceeded all my expectations. I loved The Force Awakens immediately and halfway in The Last Jedi I wondered if I'd be able to say I prefer this score over it so soon, if it's not the newness of a new John Williams score, but now that it is over I might even say that was the most fun I've ever had with a new Star Wars score.

    This is such a soaring Star Wars Symphony, such a bad-ass action score while also being so thematically rich, in terms of both the new themes and the original ones. By the end my mouth was open of its unexpected beauty. But now I'm gonna stop typing before I'll say anything that might spoil any surprises - suffice to say that this score is hands down the score of the year, it just obliterates all that came before, and I might even say this is something we'll all be able to rave enthusiastically about.
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      CommentAuthorThor
    • CommentTimeDec 15th 2017
    That's interesting, because the majority of posts on FSM and elsewhere seem to suggest it's just a hodgepodge of old themes, nothing new in terms of thematic material and overall a continuation of his "whimsical action writing" that he's been doing for a decade.

    I'm seeing the movie on Tuesday myself, but I'll probably listen to the soundtrack first, once it gets released on Spotify or I receive a promo or some such thing. I'll buy the CD too, down the line.
    I am extremely serious.
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      CommentAuthorBobdH
    • CommentTimeDec 15th 2017 edited
    "Nothing new in thematic material" is simply, by fact not true, and seems to be a statement people will laugh about once they get to know the score better. How closely did they listen? Did they really hear all of it? And how did they hear it? On album? Because I really started listening the moment it came out, and it finished just now.

    The action music is not simply 'whimsical', it's actually a lot more structured than what you heard in The Force Awakens, while also retaining classic Williams whimsicalness. Also, it definitely adds many new elements in terms of orchestration and color.

    When The Force Awakens came out there was a lot of negative initial reactions, and I was annoyed of having to defend it. Since The Last Jedi is such an expansion of that sound and direction, I'd think people were used by now of the direction John Williams had taken and would be immediately on board of what he does here. I really hope the 'across the board' negative reaction is only a few negative people, because I'm loving this and I hope lots over here will too.
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      CommentAuthorAidabaida
    • CommentTimeDec 15th 2017
    BobdH wrote
    "Nothing new in thematic material" is simply, by fact not true, and seems to be a statement people will laugh about once they get to know the score better. How closely did they listen? Did they really hear all of it? And how did they hear it? On album? Because I really started listening the moment it came out, and it finished just now.

    The action music is not simply 'whimsical', it's actually a lot more structured than what you heard in The Force Awakens, while also retaining classic Williams whimsicalness. Also, it definitely adds many new elements in terms of orchestration and color.

    When The Force Awakens came out there was a lot of negative initial reactions, and I was annoyed of having to defend it. Since The Last Jedi is such an expansion of that sound and direction, I'd think people were used by now of the direction John Williams had taken and would be immediately on board of what he does here. I really hope the 'across the board' negative reaction is only a few negative people, because I'm loving this and I hope lots over here will too.


    too.....much......hype....
    Bach's music is heartless and robotic.
  6. Thor wrote
    That's interesting, because the majority of posts on FSM and elsewhere seem to suggest it's just a hodgepodge of old themes, nothing new in terms of thematic material and overall a continuation of his "whimsical action writing" that he's been doing for a decade.

    I'm seeing the movie on Tuesday myself, but I'll probably listen to the soundtrack first, once it gets released on Spotify or I receive a promo or some such thing. I'll buy the CD too, down the line.


    It did get released on Spotify already.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorMartijn
    • CommentTimeDec 15th 2017 edited
    It's a very fine score, that works very well in the film (and is much better of a listen on CD than I feared!) but we seem to be getting into this weird twilight zone again where two consecutive notes constitute a theme (No! It worked for Jaws, and in no context ever in any film again or before, ever). There are no new themes to speak of to clearly recognise (if you have to actually work for it, it obviously failed), which was a major let-down for me after the magnificent soaring themes of Rey and the Resistance in The Force Awakens.

    But this score is NOT a disappointment! In fact it's fresh and bold and immensely energetic (and not whimsical in any way shape or form), and I am enjoying it far more than from my first viewing of the film I initially might have thought (even with some odd lifts from earlier in the saga...NO idea what TIE-Fighter Attack/Here They Come! from Star Wars did in there!)
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  7. I'm about halfway through THE LAST JEDI and it am enjoying it, though I am enjoying it most - as with the previous score - when Williams references themes from the original film(s). I think that there is at least one new theme but it reminds me too much of 'The Windy City' from CALAMITY JANE for me to really like it.

    As with most of Williams' recent action scoring output, the action scoring here it too 'haphazard' - there seems to be lots of short musical phrases stitched together into a patchwork of cues. Probably a consequence of today's movie editing style. I much prefer the over-arching sweeping cues that used to underscore the action scenes in earlier movies of this genre.

    So far, there's one goosebump moment - the last minute or so of 'The Supremacy'. Obviously it features some old thematic material heavily.

    Currently, THE LAST JEDI isn't the wonderful score that I am reading from some quarters and it is definitely not just a score rehashing old themes (nor is it 'whimsical') - it's an interesting listen that's certainly an above average 2017 score.
    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
  8. So far I listened to some tracks on Spotify and for my part I was really delighted and amazed.

    Volker
    Bach's music is vibrant and inspired.
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      CommentAuthorThor
    • CommentTimeDec 15th 2017 edited
    Had my first listen now. It's OK, but as I suspected -- few new memorable themes, whimsical action music and a bit of a hodgepodge. This has really been the John Williams story in the last decade (with one honourable exception -- WAR HORSE).

    But on first listen, it does seem more "vibrant" than TFA.

    I'll have a few more listens before I make any kind of proper judgement.
    I am extremely serious.
  9. Just finished THE LAST JEDI and there's one more goosebump moment - 'The Spark' is the cue of the album form me.
    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. Martijn wrote
    ...(even with some odd lifts from earlier in the saga...NO idea what TIE-Fighter Attack/Here They Come! from Star Wars did in there!)

    Yes, that sounded bizarre. Hearing it in the context of the film didn't make it clear why this was more-or-less lifted in tact from the original 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
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      CommentAuthorStavroula
    • CommentTimeDec 15th 2017
    Well I haven’t listened to it yet and I have to admit I’m very curious about it!I’ll watch the film and listened to the soundtrack this weekend and see for myself.But it was very enlightening reading your comments!
    Whatever you gaze rests on,do not use your vision, but the eyes of your soul...She knows better...
  11. Martijn wrote
    There are no new themes to speak of to clearly recognise (if you have to actually work for it, it obviously failed), which was a major let-down for me after the magnificent soaring themes of Rey and the Resistance in The Force Awakens.


    Is the theme in "The Rebellion is Reborn" not new? It pops back up in "The Fathiers." I'm pretty sure that's a new theme, and I think it's pretty clearly stated. It's not as good as Rey's theme or the Resistance, but I didn't have to work to recognize it.

    There were a number of other moments that made me wonder if they were going to be new leitmotifs, but not having finished my first listen yet, and not having seen the film, I can't be sure.

    But it's certainly true that this score relies heavily on previous themes. It's a testament to the excellence of THE FORCE AWAKENS that I was just as happy to hear those themes again as I was the stuff from the original trilogy.
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      CommentAuthorErik Woods
    • CommentTimeDec 15th 2017
    christopher wrote
    Is the theme in "The Rebellion is Reborn" not new? It pops back up in "The Fathiers." I'm pretty sure that's a new theme, and I think it's pretty clearly stated. It's not as good as Rey's theme or the Resistance, but I didn't have to work to recognize it.


    It's Rose's Theme, which is only NEW major theme in the entire score. There is a variation on the Resistance material but that's it. The rest is either a variation on existing themes or direct lifts... and those direct lifts are extremely disappointing!

    I like Rose's Theme on the album but its application in the film was grating!

    I very much prefer the TFA score over TLJ... but TLJ score is no slouch!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  12. NP: The Last Jedi (2017) - John Williams

    I'm very tired tonight and I certainly need to listen to this score again several more times. I remember I was disappointed initially by The Force Awakens and that it took a while to grow on me as it did.
    This score is an expertly crafted variation of it's predecessor, nothing more nothing less. I'll see the film tomorrow.

    Volker
    Bach's music is vibrant and inspired.
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      CommentAuthorWashu
    • CommentTimeDec 16th 2017 edited
    Star Wars: The Last Jedi - John Williams

    Not sure if I prefer this over The Force Awakens, I like both for different reasons. The Last Jedi strikes me as less dull and more energetic extension of The Force Awakens overall, but I do miss TFA's new thematic additions and its more economical quality. I also sorely miss LSO (again) and was shocked to find out that there were no concert arrangements on the album. A messy End Credit suite doesn't help either.

    The score will make my top 10 of the year, but that is partly because it has been the weakest film/tv/game music year of the millenium so far (no, I have heard a lot). Had it been one of the strongest years, it would maybe not have made my top 10.