[Closed] Now Playing - Part XXI

Yeap; you are, especially "Requiem".

I may be the only one, but I´ve never got into this score as a listening experience (no discussion in the film).
Probably the thing is I´ve never been able to enjoy horror scores outside its context. It´s a genre so specific in terms of music that I don´t know "how" to listen this kind of music outside the context, if you know what I mean. And it´s strange, ´cause horror is one of my favourite genre and the one which I grow up with.

Indeed. I was a bit surprised on seeing the trailer that the score was not so large as HOSTAGE (which borders on parodic at times with the apocalyptic stuff). On listening to the full album, I came to the conclusion that the film really doesn't have that much in the way of action scenes at all.

I don't know that it's that restrained, incidently. BIRTH and SYRIANA are what you would call restrained in their big emotional moments. This one tends to try and go for more emotional expression in a traditional vein. (All the themes are fairly direct in what they're saying about the characters, and when they're saying it.) Every scene I've seen of the film has the scored mixed in fairly well, and the musical is pretty active in relation to the action - the music is definitely sticking its neck out to get noticed. I think GC is compromised by its engineering though, and by what sounds like a film that doesn't rest on one idea long enough for the score develop in individual scenes. (The lack of a good ending is a minus too.)

Rather than 'restrained', I'd say GOLDEN COMPASS is more 'atmospheric' and ominous. And those scores tend not to be hits with film score afficianados on the whole, regardless of how well written they are. Had there been more material like his main theme for MAGORIUM, or had he developed his themes in concert suites, I think it would have more power as a listening experience. (Still, you obviously liked ZODIAC and I KNOW WHO KILLED ME, which are even murkier than this one in emotional terms, so who knows what's going on.)

Overall, I admire GC as a work, but LUST, CAUTION is my favourite Desplat score by some measure for this year.

Michel Legrand's Three Musketeers score is easily the best by far and probably the one that not many are familiar with?

JOHAN SODERQVIST - After the wedding

One of those composers that won't ever gain too much attention but still, their music is more heartfelt, intimate and touching that many others working out there today. "After the wedding" is a soothingly somber mix of subtle electronics and very touching strings in its majority and having connected it with the excellent movie experience, it's more than simply a good listen for me.

Come on! Where's the love for "Somewhere Out There." Especially sung by the mouse himself. COME ON!!!

-Erik-

Very BAD!

Even worse than "that" Titanic song.

Is that a good or a bad

-Erik-

Bad; i couldn't stop giggling. Oh, i know

NP: Like Minds (Giacco)

I'm really digging this score. I particularly like "Main Titles", with the pizzicato strings and the strange cello solos. The darker, more atmospheric stuff (like "Stay Away From Me" and "The New Boy") remind me of Zimmer's The Ring, only much better, more focused structurally and hardly any emphasis on synths. Another gem from MovieScore Media.

Those two scores are remarkably similar from what I've heard of them. I wasn't inspired to purchase either after hearing a few tracks from each. Isham's got the Thomas Newman-drama bug.

ME! ME! PICK ME!!!! LOVE that song. ESPECIALLY sung by the mouse(s)... ehm mice.

And that "Reunion" track must be one of the most beautifully composed reunions ever.

Come on, top that. Give me a better Reunion theme...

A.I.! That's the best Reunion theme. (IHMO. )