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[Closed] Now Playing XXXVI

General Discussions » Now Playing XXXVI (Posts 301 to 330 of 1915)

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    •  
      CommentAuthorMarselus
    • CommentTimeJul 11th 2010 edited
    NP The Sorcerer's Apprentice (Trevor Rabin)

    Terrible, just terrible. Not even reaching Rabin's average action score. The composer's outcome the last few years is really worrying, his last fine job being 'Flyboys' (back in 2006!). The first track, 'Sorcerer's Apprentice', featuring Fantasia's original score, is an hilarious rip off of Pirates of the Caribbean.

    RP Knight and Day (John Powell)

    Powell on autopilot, or Powell composing while sleeping, as Jordi said. If anything, 'Bull Run'. The rest, well, we've heard it before (and much better).

    What a weak summer, so far. My only hope is now Brian Tyler and his Expendables. I don't forget Zimmer's 'Inception', but I'm pretty sure it won't be the most pleasant listening experience.
    Anything with an orchestra or with a choir....at some point will reach you
    • CommentAuthorAnthony
    • CommentTimeJul 11th 2010
    This year seems to be better for re-releases.
    •  
      CommentAuthorBobdH
    • CommentTimeJul 11th 2010 edited
    Marselus wrote
    The first track, 'Sorcerer's Apprentice', featuring Fantasia's original score, is an hilarious rip off of Pirates of the Caribbean.


    Well, technically, it's not FANTASIA's original score ;-). It's the classical piece THE SORCERER'S APPRENTICE from Paul Dukas (composed in 1897), which was used for FANTASIA.
    • CommentAuthorAnthony
    • CommentTimeJul 11th 2010
    It's a bit worrying how the demo cue at the end of the album doesn't sound much more synthy than the final score.
    •  
      CommentAuthorDemetris
    • CommentTimeJul 11th 2010
    Marselus wrote
    NP The Sorcerer's Apprentice (Trevor Rabin)

    Terrible, just terrible. Not even reaching Rabin's average action score. The composer's outcome the last few years is really worrying, his last fine job being 'Flyboys' (back in 2006!). The first track, 'Sorcerer's Apprentice', featuring Fantasia's original score, is an hilarious rip off of Pirates of the Caribbean.

    RP Knight and Day (John Powell)

    Powell on autopilot, or Powell composing while sleeping, as Jordi said. If anything, 'Bull Run'. The rest, well, we've heard it before (and much better).

    What a weak summer, so far. My only hope is now Brian Tyler and his Expendables. I don't forget Zimmer's 'Inception', but I'm pretty sure it won't be the most pleasant listening experience.


    Oh, the sound clips for the apprentice were somewhat promising; oh pass then.

    As for Knight and day, i haven't listened to it yet but aren't we setting the bar a bit too high? stupid crappy Diaz and midget Cruise in a spy rom-com, i am sure Powell was with his buckit all day!
    Love Maintitles. It's full of Wanders.
    • CommentAuthorAnthony
    • CommentTimeJul 11th 2010
    Agent Cody Banks proved Powell can write tremendous music for the crappiest of films.
    •  
      CommentAuthorDemetris
    • CommentTimeJul 11th 2010
    I think the AGENT CODY BANKS score is tremendously annoying. I prefer something like KNIGHT AND DAY by far.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorMarselus
    • CommentTimeJul 11th 2010 edited
    BobdH wrote
    Marselus wrote
    The first track, 'Sorcerer's Apprentice', featuring Fantasia's original score, is an hilarious rip off of Pirates of the Caribbean.


    Well, technically, it's not FANTASIA's original score ;-). It's the classical piece THE SORCERER'S APPRENTICE from Paul Dukas (composed in 1897), which was used for FANTASIA.

    Well, you know what I meant tongue
    Anything with an orchestra or with a choir....at some point will reach you
    •  
      CommentAuthorMarselus
    • CommentTimeJul 11th 2010
    Christodoulides wrote
    As for Knight and day, i haven't listened to it yet but aren't we setting the bar a bit too high? stupid crappy Diaz and midget Cruise in a spy rom-com, i am sure Powell was with his buckit all day!

    Maybe you are right, we can't expect Powell to be brilliant in every single project he works on, specially if the film is not inspiring. Oh and, 'midget Cruise' biggrin
    Anything with an orchestra or with a choir....at some point will reach you
    •  
      CommentAuthorSteven
    • CommentTimeJul 11th 2010
    To be fair to Powell, I think he produces far more interesting scores for these types of action-comedy films than most composers would. There's usually something worth hearing in a new Powell score.
    •  
      CommentAuthorMarselus
    • CommentTimeJul 11th 2010
    Steven wrote
    To be fair to Powell, I think he produces far more interesting scores for these types of action-comedy films than most composers would. There's usually something worth hearing in a new Powell score.

    Agreed. As much as you can't help but thinking I've heard this / that before while listening to Knight and Day, there's always something interesting. Still, it's Powell on autopilot.
    Anything with an orchestra or with a choir....at some point will reach you
    • CommentAuthorAnthony
    • CommentTimeJul 11th 2010
    Steven wrote
    To be fair to Powell, I think he produces far more interesting scores for these types of action-comedy films than most composers would. There's usually something worth hearing in a new Powell score.


    Good point, and you're in for a high chance of getting some undeniably Powell-y music (in this case Trouble On I-93 and the second half of Reunion) regardless of the score as a whole.
    •  
      CommentAuthorDemetris
    • CommentTimeJul 11th 2010
    Steven wrote
    To be fair to Powell, I think he produces far more interesting scores for these types of action-comedy films than most composers would. There's usually something worth hearing in a new Powell score.


    Good point, and true. I'd get his works over Shapiro or Beck any day.
    Love Maintitles. It's full of Wanders.
    • CommentAuthorAnthony
    • CommentTimeJul 11th 2010
    While not perfect, there's something interesting in every cue, so it's quite easy to avoid skipping tracks.
    •  
      CommentAuthorDemetris
    • CommentTimeJul 11th 2010
    Christodoulides wrote
    Steven wrote
    To be fair to Powell, I think he produces far more interesting scores for these types of action-comedy films than most composers would. There's usually something worth hearing in a new Powell score.


    Good point, and true. I'd get his works over Shapiro or Beck any day.


    or Pereira, or Rupert Gregson Williams
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorMarselus
    • CommentTimeJul 11th 2010 edited
    Anthony wrote
    While not perfect, there's something interesting in every cue, so it's quite easy to avoid skipping tracks.

    Totally true, I didn't skip a single track.

    Christodoulides wrote
    Christodoulides wrote
    Steven wrote
    To be fair to Powell, I think he produces far more interesting scores for these types of action-comedy films than most composers would. There's usually something worth hearing in a new Powell score.


    Good point, and true. I'd get his works over Shapiro or Beck any day.


    or Pereira, or Rupert Gregson Williams

    ....or Bates, or Haslinger. Wait, did I go too deep?
    Anything with an orchestra or with a choir....at some point will reach you
    •  
      CommentAuthorEric
    • CommentTimeJul 11th 2010
    The A-Team - Mike Post & Pete Carpenter
    Conductor Daniel Caine

    I'm in a bit of an A-Team mood since I'm re-watching the DVDs at the moment .
    This Silva release is already 20 years old , jeeeh - how time flies !
    I love to listen to this one , it captures the feel of the series perfectly , but I wish
    that somebody would finally release an original version of The A-Team music .
    It's long overdue IMO ...
    "Simplicity is the key to brilliance"
    •  
      CommentAuthorNautilus
    • CommentTimeJul 11th 2010
    Marselus wrote

    RP Knight and Day (John Powell)

    Powell on autopilot, or Powell composing while sleeping, as Jordi said. If anything, 'Bull Run'. The rest, well, we've heard it before (and much better).

    What a weak summer, so far. My only hope is now Brian Tyler and his Expendables. I don't forget Zimmer's 'Inception', but I'm pretty sure it won't be the most pleasant listening experience.


    Yeap, but he is the PERFECT composer to compose this movie.

    If only the main theme was played more often...

    "hostage" punk punk punk
    •  
      CommentAuthorMartijn
    • CommentTimeJul 11th 2010 edited
    Star Trek III: The Search For Spock (FSM re-issue) - James Horner

    This doesn't happen often, but I think I may prefer the expanded edition over the album version. There's a lot of wonderful material there that I really like (like for example the Spock Endures Ponfarr cue). And the sound is so clean as to make this a completely new listening experience...whichy is really odd for a score I've known and loved for well over twenty years!

    I do love the soundscape of Search For Spock. The expanded edition interjects the esoteric Vulcan material throughout the score, so it's far more balanced (I used to dislike the amalgamated Katra Ritual track at the end of the original release), and the martial Klingon stuff is throughly menacing and exciting.

    I finally do understand Steven's "vuvuzela" comment for the Klingon music, but my association has always been utterly different: to me it sounds like nothing so much as the Orks' battle horns from Rosenmann's The Lord Of The Rings (another score I cherish deeply). So I have no issue at all connecting the sound to a savage, warlike race.

    I'm still to listen to the cleaned-up album, so I might very well go back to that.

    Whatever the case, the muzaky source cue at the end goes and stays off...vomit .
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorBobdH
    • CommentTimeJul 11th 2010
    Martijn wrote
    So I have no issue at all connecting the sound to a savage, warlike race.


    After just coming back from the centre of Amsterdam, neither do I have any problem connecting that sound to a savage, warlike race.
    •  
      CommentAuthorSouthall
    • CommentTimeJul 11th 2010
    Anthony wrote
    Agent Cody Banks proved Powell can write tremendous music for the crappiest of films.


    To be honest, if a professional film composer is unable to write great music for a crap film then they don't deserve to be a professional film composer.
    http://www.movie-wave.net | http://facebook.com/moviewave
    • CommentAuthorTimmer
    • CommentTimeJul 11th 2010 edited
    Martijn wrote
    Star Trek III: The Search For Spock (FSM re-issue) - James Horner

    This doesn't happen often, but I think I may prefer the expanded edition over the album version. There's a lot of wonderful material there that I really like (like for example the Spock Endures Ponfarr cue). And the sound is so clean as to make this a completely new listening experience...whichy is really odd for a score I've known and loved for well over twenty years!

    I do love the soundscape of Search For Spock. The expanded edition interjects the esoteric Vulcan material throughout the score, so it's far more balanced (I used to dislike the amalgamated Katra Ritual track at the end of the original release), and the martial Klingon stuff is throughly menacing and exciting.

    I finally do understand Steven's "vuvuzela" comment for the Klingon music, but my association has always been utterly different: to me it sounds like nothing so much as the Orks' battle horns from Rosenmann's The Lord Of The Rings (another score I cherish deeply). So I have no issue at all connecting the sound to a savage, warlike race.

    I'm still to listen to the cleaned-up album, so I might very well go back to that.

    Whatever the case, the muzaky source cue at the end goes and stays off...vomit .


    Steven can go take a running fuck at a rolling doughnut, I agree with EVERY word you said punk
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorMartijn
    • CommentTimeJul 11th 2010
    BobdH wrote
    Martijn wrote
    So I have no issue at all connecting the sound to a savage, warlike race.


    After just coming back from the centre of Amsterdam, neither do I have any problem connecting that sound to a savage, warlike race.


    Yeah...well...
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    • CommentAuthorAnthony
    • CommentTimeJul 11th 2010
    Southall wrote
    Anthony wrote
    Agent Cody Banks proved Powell can write tremendous music for the crappiest of films.


    To be honest, if a professional film composer is unable to write great music for a crap film then they don't deserve to be a professional film composer.


    But at the same time you couldn't blame them if they struggled to find inspiration.
    •  
      CommentAuthorMartijn
    • CommentTimeJul 11th 2010
    ...or just go "by the numbers".
    After all, if the very producers don't care, why should the composer?

    Props to Powell for this one! punk
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorplindboe
    • CommentTimeJul 11th 2010
    Anthony wrote
    But at the same time you couldn't blame them if they struggled to find inspiration.


    It's his job though. His inspiration is his paycheck.

    Peter smile
    •  
      CommentAuthorSouthall
    • CommentTimeJul 11th 2010
    Anthony wrote
    Southall wrote
    Anthony wrote
    Agent Cody Banks proved Powell can write tremendous music for the crappiest of films.


    To be honest, if a professional film composer is unable to write great music for a crap film then they don't deserve to be a professional film composer.


    But at the same time you couldn't blame them if they struggled to find inspiration.


    I agree - but the list of turkeys with great scores is pretty long. Few truly great films have a score as truly great as The Final Conflict, for instance.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorDemetris
    • CommentTimeJul 11th 2010
    Marselus wrote
    Anthony wrote
    While not perfect, there's something interesting in every cue, so it's quite easy to avoid skipping tracks.

    Totally true, I didn't skip a single track.

    Christodoulides wrote
    Christodoulides wrote
    Steven wrote
    To be fair to Powell, I think he produces far more interesting scores for these types of action-comedy films than most composers would. There's usually something worth hearing in a new Powell score.


    Good point, and true. I'd get his works over Shapiro or Beck any day.


    or Pereira, or Rupert Gregson Williams

    ....or Bates, or Haslinger. Wait, did I go too deep?


    Well, yeah those go without saying, don't they? wink The thing with the others is that they're good to average composers but the rom-com scores they produce tend to be very standard.

    Bates and Haslinger are simply euw.
    Love Maintitles. It's full of Wanders.
    • CommentAuthorTimmer
    • CommentTimeJul 11th 2010
    Southall wrote
    Anthony wrote
    Southall wrote
    Anthony wrote
    Agent Cody Banks proved Powell can write tremendous music for the crappiest of films.


    To be honest, if a professional film composer is unable to write great music for a crap film then they don't deserve to be a professional film composer.


    But at the same time you couldn't blame them if they struggled to find inspiration.


    I agree - but the list of turkeys with great scores is pretty long. Few truly great films have a score as truly great as The Final Conflict, for instance.


    And probably the best example of a turkey having one of the best film scores ever written.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorDemetris
    • CommentTimeJul 11th 2010
    You can't seriously expect composers to write good stuff constantly; they're human beings, the pressure is high, the workload is inhuman, it's natural that there's going to be ups and downs in quality and inspiration is also needed; not everyone can write good for crappy movies all the time and the quality is constantly degrading. Even the greats whom you talk about, were subject to the same rule; they also wrote a lot of mediocre scores. Certainly this is not a factor to judge anyone's professional values.
    Love Maintitles. It's full of Wanders.

301 to 330 of 1915

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