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Now Playing L

General Discussions » Now Playing L (Posts 3451 to 3480 of 4868)

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    •  
      CommentAuthorBobdH
    • CommentTimeMar 30th 2018 edited
    I also greatly enjoyed Ready Player One last night, film and score. Haven’t heard the score on album yet, but looking forward to. The score felt to me like one big homage to John Williams, including a very clear reference to the 1941 march, while at other times triggering his Minority Report suspense writing, his use of horns, or other typical John Williams vibes, mixed with Back to the Future-era Silvestri stylings.

    Also, I was definitely the only one in my theater who laughed (hard) at the [spoiler]DeLorean Reveal “twinkle” when the Zemeckis Cube was triggered[/spoiler]. :D
    •  
      CommentAuthorThor
    • CommentTimeMar 30th 2018
    Erik Woods wrote
    Southall wrote
    I love this one. Silvestri’s best Work in a very, very long time. Even the electronics are great!


    Indeed! Especially in great cues like "Wade's Broadcast" "Last Change" and "Sorrento Makes An Offer!"

    A wonderfully colourful and diverse score! So much to sink your teeth into.

    -Erik-


    Those are probably the tracks I'm going to cut out in my playlist. Light-weight COSMOS stuff.
    I am extremely serious.
  3. Erik Woods wrote
    It's a superb score; thrilling, exciting, frightening, romantic, fun with a memorable sing-song main theme that leaves you humming it after the lights have come on! Easily one of the best scores of the year!

    -Erik-


    Yeah, I listened to it in several chunks and somewhere in the middle, when I wasn't listening, I actually found the main theme in my head even though I hadn't even had one whole play through the score yet. That never happens. Most "themes" these days I never remember even after several listens.
  4. NP: Serenity (2005) - David Newman

    Good score that combines the western sensibilities of Greg Edmonson's great TV score with a more scifi oriented style.

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorLSH
    • CommentTimeApr 1st 2018 edited
    NP: SIDEWAYS - ROLFE KENT

    Appropriately with a juicy bottle of red.

    cool
    •  
      CommentAuthorThor
    • CommentTimeApr 2nd 2018
    NP: THE GREATEST STORY EVER TOLD (Alfred Newman)

    Gorgeous score, and appropriate for the day. I've always found the rendition of Händel's "Hallelujah" chorus very skimpy, though. I have the 2CD, but I only ever play the LP program.
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeApr 2nd 2018 edited
    NP: BIG WEDNESDAY (Basil Poledouris)

    I used to dislike this score. Why? It's beautiful. Perhaps I had expected something more upbeat at the time; or more 'surfy'. But it IS too long.
    I am extremely serious.
    •  
      CommentAuthorAidabaida
    • CommentTimeApr 4th 2018
    I listened to the X-3 score by John Powell again today... I liked it less than I used to. The aural assault of the final 20 minutes is physically exhausting. But I’ll admit the final statement of the Dark Phoenix theme at the end of the final track is terrific.
    Bach's music is heartless and robotic.
  9. It's exhausting in the best possible way IMO! Sure it gets a bit messy and overbearing at times (way, way, way less than it could have though, there's still a remarkable commitment to structure in the action cues) but I wish more scores had even a tenth as much ambition and density. The last two cues are among the best music Powell has written, especially the way the Phoenix theme soars out of the chaos in "Phoenix Rises" like a...well, you know. wink

    Also, why didn't they release the film version of "Bathroom Titles"? Much nimbler and more genuinely Powellesque once you get rid of that Superman ostinato...

    It's not my absolute favorite Powell score (I do think some - not all, but some - of his voice gets drowned out in the ruckus) but it's up there. Really, really impressive work and in terms of superhero scores, I don't think it's been topped since.
    • CommentAuthorjb1234
    • CommentTimeApr 5th 2018
    Ready Player One - Alan Silvestri

    Chopped this down to 48 minutes and I'm enjoying it a lot more. Most of the suspense cues (with heavy electronics) got the boot.
    •  
      CommentAuthorWashu
    • CommentTimeApr 5th 2018 edited
    The Lord of the Rings: The Two Towers - Howard Shore

    I still think The Two Towers is the weakest The Lord of the Rings score, but this is still my favourite score of 2002. The Fellowship of the Ring is the best score in the trilogy for me followed by The Return of the King. I am not too fond of the Fangorn, Ent material and some other stuff here, it is probably its biggest weakness. The Two Towers has the most music I don't care that much about. The third one has the Army of the Dead material which I personally find quite dull too.

    My biggest criticism about the The Lord of the Rings scores is probably that there is too much "dead air" in them. Some parts of the scores seem to go on forever almost without much interesting happening. At least it is nowhere near as bad as The Hobbit scores are where almost half of the albums is more tedious or nondescript material.
  12. I don't find a single second of the music Shore wrote for Middle-earth "uninteresting" - sure, some of it is less engaging than other parts, but there's always something going on, some little subtleties of orchestration or textures or thematic development that are worth paying attention to. The Complete Recordings are slow listens, not always instantly gratifying, but incredibly rewarding.

    Although I do agree with you that the Ents deserved more. I guess the best Ent moment in the film being given over to the nature theme didn't really help with that (I've seen it referred to as "the Ent theme" on more than one occasion even though it isn't).
  13. Edmund Meinerts wrote
    I don't find a single second of the music Shore wrote for Middle-earth "uninteresting".


    This.
    Bach's music is vibrant and inspired.
  14. NP: The Fantasy Film World of Bernard Herrmann

    The Cherry Red compilation with selections of original recordings. Nice, but not the album that I was really looking for, namely re-recordings with the National Philharmonic Orchestra. The selection of films is rather similar. The Cherry album exchanges Fahrenheit 451 for Beneath the 12-Mile-Reef though.

    Volker
    Bach's music is vibrant and inspired.
  15. Captain Future wrote
    NP: The Fantasy Film World of Bernard Herrmann

    The Cherry Red compilation with selections of original recordings. Nice, but not the album that I was really looking for, namely re-recordings with the National Philharmonic Orchestra. The selection of films is rather similar. The Cherry album exchanges Fahrenheit 451 for Beneath the 12-Mile-Reef though.

    Volker

    Is this better (if you're looking for a digital copy)

    https://www.amazon.co.uk/Fantasy-Film-W … d+Herrmann
    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
  16. That is exactly the album I was looking for. I was after the CD, not a digital copy. The Cherry Red album is a nice product. I just wish they had given it another name. So, I'll leave it at that.

    Thanks!
    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorAidabaida
    • CommentTimeApr 5th 2018
    Edmund Meinerts wrote
    It's exhausting in the best possible way IMO! Sure it gets a bit messy and overbearing at times (way, way, way less than it could have though, there's still a remarkable commitment to structure in the action cues) but I wish more scores had even a tenth as much ambition and density. The last two cues are among the best music Powell has written, especially the way the Phoenix theme soars out of the chaos in "Phoenix Rises" like a...well, you know. wink

    Also, why didn't they release the film version of "Bathroom Titles"? Much nimbler and more genuinely Powellesque once you get rid of that Superman ostinato...

    It's not my absolute favorite Powell score (I do think some - not all, but some - of his voice gets drowned out in the ruckus) but it's up there. Really, really impressive work and in terms of superhero scores, I don't think it's been topped since.


    I'm not sure about the "way, way less than it could have been". At some point among the string whirling, piccolo puttering, anvil banging, and trumpet screaming, you can't really go any further. Moreover, he does that in nearly *every cue*, even the quiet or mysterious ones. In almost every cue, the orchestra is playing as if they've reached the climax of a long crescendo.

    If you look at a later and more mature score from Powell like How To Train Your Dragon, I think you find a lot more variety, plus a commitment to listenability in spectacular action cues guided by intricate themes.

    I'd say Horner's Amazing Spiderman and Glass/Beltrami's Fantastic 4 blow X-3 out of the water... but for some reason I think I'm the only one who views those scores as 5 star triumphs...

    Overall I'd say I might appreciate Powell's score better if he hadn't refined his technique later on.
    Bach's music is heartless and robotic.
  18. The Amazing Spider-Man is the closest contender out of what has come since (but yeah, you're probably more or less alone with Fantastic Four...decent score but five stars?). I understand the complaints that people have with the density/volume of X3 but that sort of stuff is just catnip for me, what can I say? shame
    •  
      CommentAuthorThor
    • CommentTimeApr 5th 2018
    NP: FIELD OF DREAMS (James Horner)

    Can't believe there was a time I actually disliked this score, and sold off my CD. It's a beauty! Oh, how my tastes have changed.
    I am extremely serious.
  20. I forgot that I actually have this CD in my collection. I'll revisit. smile
    EDIT: NP. Did this piano bass key thing, that is prominent in later scores, originate here?
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorThor
    • CommentTimeApr 6th 2018
    Captain Future wrote
    I forgot that I actually have this CD in my collection. I'll revisit. smile
    EDIT: NP. Did this piano bass key thing, that is prominent in later scores, originate here?


    Not sure what you mean. Could you reference a point in a Youtube track or something? If you mean 'crashing pianos', it was always a recurrent feature in his music. But not that much of it in FIELD OF DREAMS.
    I am extremely serious.
    •  
      CommentAuthorWashu
    • CommentTimeApr 6th 2018
    It - Benjamin Wallfisch

    While not exactly easy listening out of context, it is a pretty solid score in context especially and some of it is just gleefully insane. Wallfisch is growing on me as a composer with both this and Blade Runner 2049 especially, his two or three other scores of 2017 were decent too, but lacked in distinction compared to Blade Runner 2049 and It. He certainly had a very good year last year even if only Blade Runner 2049 made my top 10 scores of the year list.

    ---

    Mulholland Drive - Angelo Badalamenti

    Listening to this again and it is really good for most part. One of the best scores of 2001 - top 10 most likely. The way he combines ambient music with drone and noise elements is quite impressive and it shows us a different side to Badalamenti that we haven't really heard prior to this score I think. This music has much more in common with David Lynch's own activities as a composer than what we usually associate Badalamenti with, which is of course the kind of jazzy, moody music he wrote for his magnum opus Twin Peaks.
  23. NP: Ready Player One (2018) - Alan Silvestri

    This is a blast. Clearly for me this is one of the scores of the year so far. Wouldn't want to miss a minute of it. smile

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorSteven
    • CommentTimeApr 7th 2018
    Captain Future wrote
    NP: Ready Player One (2018) - Alan Silvestri

    This is a blast. Clearly for me this is one of the scores of the year so far. Wouldn't want to miss a minute of it. smile

    Volker


    It's great. A proper theme!
    •  
      CommentAuthorSouthall
    • CommentTimeApr 7th 2018
    Struggling to think of many better things he's done. It's great.
    http://www.movie-wave.net | http://facebook.com/moviewave
  26. NP: Close Encounter of the Third Kind (1977) - John Williams

    The La-La-Land release. So I changed my mind on this and triple dipped. (The Alhambra and the expanded Arista release were in my collection already.) No regrets. The reconstructed "double LP that never was" edit that features on CD 1 has instantly become my favourite presentation of the score. Also the sound is breathtaking. The C&C playlist, provided at JWFAN, can be put together from this release but I think this is of little interest for me at this point. Great release!

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorAidabaida
    • CommentTimeApr 8th 2018
    Ready Player One

    The musical equivalent of a below average Big Mac from an understaffed McDonalds.
    Bach's music is heartless and robotic.
    •  
      CommentAuthorErik Woods
    • CommentTimeApr 8th 2018
    Ready Player One is phenomenal!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorThor
    • CommentTimeApr 8th 2018
    It's OK. Perhaps OK+ once I get to make my playlist. Here's my review:

    http://celluloidtunes.no/ready-player-o … silvestri/
    I am extremely serious.
    •  
      CommentAuthorAidabaida
    • CommentTimeApr 8th 2018 edited
    Erik Woods wrote
    Ready Player One is phenomenal!

    -Erik-


    Ok I get that opinions differ and that everything is subjective.... but really? has the bar fallen so low that the thirty thousandth iteration of stop start, minor third chopping, brass puttering, drum thumping, unceasingly dissonant and loud “action music” is considered phenomenal?
    Bach's music is heartless and robotic.

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