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      CommentAuthorAidabaida
    • CommentTimeJul 19th 2018
    Steven wrote
    If you go in expecting wonder, like I foolishly did on my first listen, you will be disappointed. What it is is epic, end-of-the-world music. The big theme for the volcano/island/indo-raptor (??) is fantastic. This is one of Giacchino's best.


    i'd get that if Giacchino's end of the world music didn't sound like car-chase music... The score is meant to be darker and more action-based, but I don't think that plays to Giacchino's strengths. The only truly dark theme I can think of by him is the Abrasax Family Tree... aside from that his action/villain tracks tend to have an exciting, adventurous element to them.
    Bach's music is heartless and robotic.
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      CommentAuthorDemetris
    • CommentTimeJul 20th 2018
    I too find Giacchino's recent output a bit autopilotish and well you know, lacking the wonder factor. Maybe he's overworked? or busy fighting over the 'who's gonna fill JW's shoes when he's gone' title wink
    Love Maintitles. It's full of Wanders.
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      CommentAuthorDemetris
    • CommentTimeJul 20th 2018
    Steven wrote
    Mission Impossible: Fallout Lorne Balfe

    Brexit, Trump, now this. How did it comes to this?


    biggrin
    Love Maintitles. It's full of Wanders.
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      CommentAuthorDemetris
    • CommentTimeJul 20th 2018 edited
    as for Balfe and Jablonsky. Well, they have always been in careers at dark corners scratching the bottom of left-over Zimmer music in thrown away half-empty barrels so what did anyone really expect ? smile
    Love Maintitles. It's full of Wanders.
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      CommentAuthorDemetris
    • CommentTimeJul 20th 2018
    Steven wrote
    In fact, I feel a list coming on...

    Best scores*:

    2) Ready Player One - Alan Silvestri



    Liked it but don't you think it's more like a monothematic variation throughout ? kinda like theme on nostalgia and variations smile is the movie any good btw?
    Love Maintitles. It's full of Wanders.
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      CommentAuthorSteven
    • CommentTimeJul 21st 2018
    Demetris wrote
    I too find Giacchino's recent output a bit autopilotish and well you know, lacking the wonder factor. Maybe he's overworked? or busy fighting over the 'who's gonna fill JW's shoes when he's gone' title wink


    I struggle to hear much John Williams in Giacchino's scores. Can you point to a recent example?
  1. Demetris wrote
    as for Balfe and Jablonsky. Well, they have always been in careers at dark corners scratching the bottom of left-over Zimmer music in thrown away half-empty barrels so what did anyone really expect ? smile


    The thing with Jablonsky though is that, believe it or not, at the end of the day he is one of the most consistently thematic composers we have right now. The first Transformers score is one of the biggest guilty pleasures I've ever had and I was floored by how he conjures up a decent to good theme for crap like Your Highness or the second Teenage Mutant Ninja Turtles.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorThor
    • CommentTimeJul 23rd 2018
    Jablonsky is great. Balfe hasn't yet wowed me the same way, but there are bits and pieces of him that I really like.
    I am extremely serious.
  2. "Transformers" is probably my favourite MV/RC style score.

    smile Volker
    Bach's music is vibrant and inspired.
    • CommentAuthorLars
    • CommentTimeJul 23rd 2018
    PawelStroinski wrote
    Demetris wrote
    as for Balfe and Jablonsky. Well, they have always been in careers at dark corners scratching the bottom of left-over Zimmer music in thrown away half-empty barrels so what did anyone really expect ? smile


    The thing with Jablonsky though is that, believe it or not, at the end of the day he is one of the most consistently thematic composers we have right now. The first Transformers score is one of the biggest guilty pleasures I've ever had and I was floored by how he conjures up a decent to good theme for crap like Your Highness or the second Teenage Mutant Ninja Turtles.


    one of steves best scores is the music for the korean video game IDEA. a great mix of classic rcp themes and an unusal good orchestration for an rcp composer like steve. the music has also wonderful choir parts. i really love this score.
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      CommentAuthorBobdH
    • CommentTimeJul 25th 2018 edited
    THE 13TH WARRIOR - Jerry Goldsmith

    Goldsmith wrote a killer main theme for this (although extremely derivative of his The Mummy material), and he sustains your interest by finding new ways to present it, but other than that there’s not a lot of meat on these bones. In between statements of thát theme, it’s rather devoid of character or interesting other ideas. It baffles me Clemensen called this effort the superior one over The Mummy, which he in turn called colorless, since to me it’s obvious that The Mummy contained so much more thematic depth, character and ideas.
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      CommentAuthorThor
    • CommentTimeJul 25th 2018
    It's certainly not superior to THE MUMMY (which I consider my alltime favourite JG), but it's a damn fine piece nonetheless. Goldsmith and the 90s is gold!
    I am extremely serious.
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      CommentAuthorSouthall
    • CommentTimeJul 25th 2018
    I agree The Mummy is better, but I like them both. (He wrote and recorded 13th Warrior first by the way, though the film wasn't released till later.)
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      CommentAuthorCaliburn
    • CommentTimeJul 26th 2018
    Detroit: Become Human - Philip Sheppard, John Paesano and Nima Fakhara

    weird to listen to a score that is only streamable and cannot be bought.
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      CommentAuthorDemetris
    • CommentTimeJul 28th 2018
    Lars wrote
    PawelStroinski wrote
    Demetris wrote
    as for Balfe and Jablonsky. Well, they have always been in careers at dark corners scratching the bottom of left-over Zimmer music in thrown away half-empty barrels so what did anyone really expect ? smile


    The thing with Jablonsky though is that, believe it or not, at the end of the day he is one of the most consistently thematic composers we have right now. The first Transformers score is one of the biggest guilty pleasures I've ever had and I was floored by how he conjures up a decent to good theme for crap like Your Highness or the second Teenage Mutant Ninja Turtles.


    one of steves best scores is the music for the korean video game IDEA. a great mix of classic rcp themes and an unusal good orchestration for an rcp composer like steve. the music has also wonderful choir parts. i really love this score.


    who composed this ? jablonsky? thanks
    Love Maintitles. It's full of Wanders.
    • CommentAuthorLars
    • CommentTimeJul 28th 2018
    Demetris wrote
    Lars wrote
    PawelStroinski wrote
    Demetris wrote
    as for Balfe and Jablonsky. Well, they have always been in careers at dark corners scratching the bottom of left-over Zimmer music in thrown away half-empty barrels so what did anyone really expect ? smile


    The thing with Jablonsky though is that, believe it or not, at the end of the day he is one of the most consistently thematic composers we have right now. The first Transformers score is one of the biggest guilty pleasures I've ever had and I was floored by how he conjures up a decent to good theme for crap like Your Highness or the second Teenage Mutant Ninja Turtles.


    one of steves best scores is the music for the korean video game IDEA. a great mix of classic rcp themes and an unusal good orchestration for an rcp composer like steve. the music has also wonderful choir parts. i really love this score.


    who composed this ? jablonsky? thanks

    yes it is by jablonsky.
  3. Harry Gregson-Williams - Breath

    Turns out it's a 2017 film, unrelated to Andy Serkis' directorial debut. The score was released this year. A very laid back work, very pleasant, ambient with a couple of rock twists. The kind of thing that suits the composer best - a more small-scale dramatic work.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorSteven
    • CommentTimeJul 30th 2018
    No, things like Sinbad, Prometheus and Kingdom of Heaven suit the composer best.
  4. Paradoxically, not really, if you look at his career. His style is far more subtle. At a meeting (a masterclass, as they dubbed it and one of the best events like this ever on the festival) in Kraków he said how Sinbad gave him a chance to sound like "the other Williams", which was a sort of recurring joke of the whole thing. Because he claims that his own themes aren't as complex as the classics.

    Gregson-Williams' voice is actually quite subtle. He can do the big stuff very well, he's well-versed in the classical tradition, too. There was a large argument about, I think, Prometheus between Scott Glasgow and Stephen Barton (a long-term assistant of Gregson-Williams) about how the theme sounds like one of John Williams' with Glasgow constantly pushing his theory how Harry ripped it off and Barton explaining for the umpteenth time that it nowhere in temp-track and in director's notes and he knows for a fact that Harry never heard of the Williams "original" before, so there.

    But when it comes to his voice, if you look at Sinbad and Kingdom of Heaven... and actually his Tony Scott work, you will see that quite often he likes to start in a very low-key place (Sinbad doesn't allow that often) and seamlessly (via performance alone) go into intense drama and go back to that place. In Tony's cinema it interweaves the harsh electronica in very precise moments. I wish more people could hear stuff like The Magic of Marciano, which is an almost European score in sound, with little to no electronica, but the way he uses the orchestra and his theme are just impeccable.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorLSH
    • CommentTimeJul 31st 2018
    Pawel, your responses to responses are always a thing I would struggle to muster the effort to respond to. Well done.
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      CommentAuthorLSH
    • CommentTimeJul 31st 2018 edited
    THE HORSE WHISPERER - THOMAS NEWMAN

    I think I'm gonna spend the rest of the week revisiting some old gems which used to get many a spin but have now most undeservedly fell somewhat to the wayside.

    I've always loved this one. A last-minute replacement score, I understand, but a cracking one at that. Unmistakably Newman but the closest he's ever come to scoring a Western. I'd love to hear his pop at one proper but this will do for now. It has that silky 'neo-Americana' sound that he has teased in many of his scores, such as Shawshank. Love it.
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      CommentAuthorThor
    • CommentTimeJul 31st 2018
    NP: AERIAL CHINA (Bei Wang)

    Beautiful nature documentary score from last year. A shame it's only available as this 26-minute promo.
    I am extremely serious.
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      CommentAuthorLSH
    • CommentTimeAug 1st 2018 edited
    Next on the 'forgotten gems' list...

    DEEP IMPACT - JAMES HORNER

    Often considered to be one of his 'lesser' scores but I've always found a great deal to love in this work of his. It's certainly a bloated album but there are some absolutely lovely highlights. The almost-15 min finale cue is an overload of Horner emotion. There are echoes of Apollo 13 (appropriately, I guess) but it's so deliciously schmalzy, yet seriously affecting, in a way that only Horner could manage. It features almost every Horner-trick in the book but there is some fantastic writing for solo trumpet.

    I struggle to imagine 90's cinema without Horner.

    cool
  5. Lost in Space (2018) - Christopher Lennertz

    After several listens during my vacation at the North Sea I must say, that this score is a feast.

    Volker
    Bach's music is vibrant and inspired.
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      CommentAuthorLSH
    • CommentTimeAug 3rd 2018 edited
    Next up:

    AMISTAD - JOHN WILLIAMS

    I only ever re-visit this for the solemn Americana cues; the sort that Williams could write before breakfast. Still, gorgeous stuff.

    An aside but I watched the actual film a couple of weeks ago for the first time in ages. Not one of Spielberg's best but I had forgotten just how brilliant Anthony Hopkins is in it. He steals every scene he's in. He's just fabulous.

    As many have commented, both the film and score make excellent companion pieces to Lincoln.
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      CommentAuthorLSH
    • CommentTimeAug 3rd 2018 edited
    THE WAR - THOMAS NEWMAN

    Understandably overshadowed by The Shawshank Redemption and Little Women from the same year, this is still a beautiful little score from Newman. Gorgeous understated writing for piano and strings and then there's that soulful 'deep-south' sound that he got a lot of mileage out of during the early nineties, with wordless vocals reminiscent of Fried Green Tomatoes. Outstanding stuff.
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      CommentAuthorThor
    • CommentTimeAug 3rd 2018 edited
    LSH wrote
    Next up:

    AMISTAD - JOHN WILLIAMS

    I only ever re-visit this for the solemn Americana cues; the sort that Williams could write before breakfast. Still, gorgeous stuff.


    Interestingly, my main attraction is the "African" stuff on that album, not the solemn Americana -- which is great, no doubt, but which Williams does far too often -- especially in recent years (even friggin' THE BFG gets it, and it's such a quintessential British fantasy film). I agree, however, that the film is underrated.
    I am extremely serious.
  6. NP: The Cowboys (1973) - John Williams

    The recent Varese Sarabande release of the C&C score. The 60 minutes of music fly by like a soft summer breeze. You might find it a bit repetitive on the thematic side but the way, Williams puts his ideas through various instrumentations and other modulations really appeals to me. The application of an electric base guitar might show some inspiration taken from Ennio Morricone.

    Volker
    Bach's music is vibrant and inspired.
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      CommentAuthorSteven
    • CommentTimeAug 4th 2018 edited
    American Dream Thomas Bergersen

    Those who bemoan the Current State of Film Music™ will probably appreciate this. Think Joel McNeely in the 90s scoring a western/Americano* film.

    *americana not americano face-palm-mt
  7. NP: Titanic (1997) - James Horner

    Essentially the original album augmented with
    - A Building Panic
    - The Portrait (Piano Solo)
    - and Nearer my God to Thee. (Is there a version without dialogue?)

    I omitted all the stuff later recorded with the London Symphony, since I am not too fond of that material.

    This is one of my all time favourite scores. Even so, I am fine with that playlist and don't see the necessity to pay 70 Euros for the La-La-Land edition.

    Volker
    Bach's music is vibrant and inspired.