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  1. I like Matinee, it's nothing Jerry will be remembered for in 100 years time but there's definitely something to like here. My bro sold it to me once and I have to listen to it again real soon.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    • CommentAuthorKevinSmith
    • CommentTimeOct 31st 2010
    Moon - Clint Mansell

    There are really only two cues worth repeat listening, "Memories" and "The Nursery" both dealing with a soft simple piano theme. The rest (the thriller, suspense, rock) underscore does not invite much interest otherwise.
    Revenge is sweet... Revenge is best served cold... Revenge is ice cream.
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      CommentAuthorDemetris
    • CommentTimeOct 31st 2010
    KevinSmith wrote
    Moon - Clint Mansell

    There are really only two cues worth repeat listening, "Memories" and "The Nursery" both dealing with a soft simple piano theme. The rest (the thriller, suspense, rock) underscore does not invite much interest otherwise.


    If you've seen the movie though, it worked wonders in it and that's what matters.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorSouthall
    • CommentTimeOct 31st 2010
    Rambo: First Blood Part II - Jerry Goldsmith

    The ultimate macho action score. "Escape from Torture" - shocked shocked smile
  2. NP: 'Farewell to Dobby' (Desplat)

    Reminds me of a Poledouris 'farewell' track. (Helped by just having listened to Farewell to the King earlier today.)
    I haven't heard the whole score yet, just dipping in here and there, but this really is a lovely track.
    A butterfly thinks therefore I am
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      CommentAuthorDemonStar
    • CommentTimeOct 31st 2010
    I think Sky Battle features some of the best action writing he's done, too (and one of the best I've heard this year). I think that while the score could've been thematically stronger, he's really nailed the tone of the book and I'm really eager to see how it plays in the film.
  3. franz_conrad wrote
    NP: 'Farewell to Dobby' (Desplat)

    Reminds me of a Poledouris 'farewell' track. (Helped by just having listened to Farewell to the King earlier today.)
    I haven't heard the whole score yet, just dipping in here and there, but this really is a lovely track.


    I didn't expected to be crying when I listened that cue. It's one of the most emotional cues I ever hear in a Harry Potter score, along with A Window To The Past, Possession and Dumbledore's Farewell.


    DemonStar wrote
    I think Sky Battle features some of the best action writing he's done, too (and one of the best I've heard this year). I think that while the score could've been thematically stronger, he's really nailed the tone of the book and I'm really eager to see how it plays in the film.


    That's the reason why I love this score. Desplat's music is faithful to the book's spirit. I can imagine thoses scenes with the music. Obviously, it helps the fact that Desplat is a Harry Potter fan. And I agree with everybody, Desplat should have used Williams's themes and use more Hedwig's theme.

    But that doesn't prevent me to enjoy this score.
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      CommentAuthorDemetris
    • CommentTimeOct 31st 2010
    HANS ZIMMER - pirates of the Caribbean: at world's end

    Entertaining Zimmerisms. The 2nd part, the dramatic pieces, is mind-blowing at places.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorDreamTheater
    • CommentTimeOct 31st 2010 edited
    yeah

    One of the other 4 Zimmers I've bought between 2000 and 2010. smile beer



    Troy (Rejected) - Gabriel Yared

    I've just read a bit on what happened with this awesome piece of work, why it got rejected and I'm stupefied. crazy

    Shame on you, Mr. Peterson and studio execs. You were so full of shit !!!!

    There is more greatness in the first three tracks, than in the whole of Horner's effort.

    I sincerely hope for Gabriel this gets a genuine release some day.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  4. You can't blame Horner though. He had an insane amount of pressure put on him because of that debacle...
  5. Don't get me wrong, I don't blame Jimbo (big supporter here), I blame the powers that be. They're the ones that let an inferior score on the soundtrack.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  6. Angels in America - Thomas Newman

    "Black Angel"... shocked shocked shocked shocked shocked
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      CommentAuthorLSH
    • CommentTimeOct 31st 2010
    ^

    Fucking awesome score. My favourite from Newman.
    • CommentAuthorKevinSmith
    • CommentTimeOct 31st 2010
    Christodoulides wrote
    KevinSmith wrote
    Moon - Clint Mansell

    There are really only two cues worth repeat listening, "Memories" and "The Nursery" both dealing with a soft simple piano theme. The rest (the thriller, suspense, rock) underscore does not invite much interest otherwise.


    If you've seen the movie though, it worked wonders in it and that's what matters.


    What matters is how it plays on the album, not in the movie.
    Revenge is sweet... Revenge is best served cold... Revenge is ice cream.
    •  
      CommentAuthorFalkirkBairn
    • CommentTimeOct 31st 2010 edited
    NP: Serengeti - Martin Lingnau & Ingmar Süberkrüb

    I've been listening - and enjoying - this score for a German film released by Colesseum Records. As would be expected for a film set in Africa (I believe that it's some sort of nature documentary - maybe someone who has seen it can confirm this?) it's full of African percussion references (more rhythm rather than ethnic drum type).

    It's catchy, in places intimate, and evokes the vast expanse of the African landscape.

    Scored for what sounds like a relatively small orchestra with the aforementioned percussion it's an unexpected.

    It does remind me in places of Zimmer's The Lion King - but no one wet themselves, it may be a reference that's a bit of a push for some.

    Clips are available to listen to here.
    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
  7. LSH wrote
    ^

    Fucking awesome score. My favourite from Newman.

    Yes, and that aforementioned track, more than any other, makes me wish Newman would do an action thriller...just to see how it would sound.
    •  
      CommentAuthorDemetris
    • CommentTimeOct 31st 2010
    KevinSmith wrote
    Christodoulides wrote
    KevinSmith wrote
    Moon - Clint Mansell

    There are really only two cues worth repeat listening, "Memories" and "The Nursery" both dealing with a soft simple piano theme. The rest (the thriller, suspense, rock) underscore does not invite much interest otherwise.


    If you've seen the movie though, it worked wonders in it and that's what matters.


    What matters is how it plays on the album, not in the movie.


    Oh, that's news to me as long as we are talking FILM SCORES.
    Love Maintitles. It's full of Wanders.
  8. Well yes, but what makes us special is that we can enjoy this stuff without needing to a see a film. wink

    NP: Harry Potter ... etc etc (dandy frenchman)

    It's interesting. There are definitely repeated ideas, with development, but that's not the same as glorious themes, and I can see where Erik and Broxton are both coming from here.

    Some reactions:
    - For those who want more oomph with Desplat, I think this score finally delivers on that front. The action is a lot less scattered in its drive than New Moon's, and unlike Golden Compass, there's quite a bit of action too. Overall, the energy of his compositions remain one of his main strengths, whether it be the lighter allegros or the aggressive ones.
    - His orchestrations remain a strong point. Some nice allusions to old & new Williams via Tchaikovsky and Stravinsky. Moment-by-moment, he really is working to find ways to keep it interesting. Possibly the most interesting connective underscore of any composer working at the moment? (To be honest, none of it feels like connective underscore, and when I think of what Howard Shore or James Newton Howard would write for those scenes where nothing big is happening, I do think we're pretty lucky to have this guy working in film. It's a different emphasis.)
    - It is one of the less rewarding Desplat scores from the melodic viewpoint. It's teaming with little melodies (many variations of others and only appearing once in that variation), and action melodies, and emotional moments, but it somehow isn't punching through in this form. You just want one big long-lined melody that somehow all the little ones are derived from, and you want that long line melody to somehow tie in with one of Williams' ideas in a big way. MY THEORY: There were 2 gorgeous waltz themes running through the score that somehow connected everything, but Desplat heard Erik Woods wouldn't like it, and just wrote out theme in the album mixing. wink )
    - I'm surprised there's not more Willliams references in it. Maybe Yates vetoed it, or maybe Desplat just didn't want to go there? Or maybe there's less on the album to save paying royalties?

    I'm glad I heard this. It's such a step up from Hooper's first score (I never heard the second), and like Doyle's, it's definitely worth hearing a new voice in the Potter landscape. I think Williams still has the trophy firmly in hand for AZKABAN though. (Not keen on the first two scores apart from their themes here.)
    A butterfly thinks therefore I am
  9. Dracula - John Williams

    A fitting score for today. smile
  10. Now on to The Painted Veil...I don't understand how people can say Desplat's music is cold and sterile. This score is a lush masterpiece...
  11. NP: Harry Potter and the Order of the Phoenix (Nicholas Hooper)

    To be honest, when things are bright and happy, this score is actually not bad at all. I think the dull heavy stuff has led me to exaggerate how uninteresting it is.
    A butterfly thinks therefore I am
  12. franz_conrad wrote
    NP: Harry Potter and the Order of the Phoenix (Nicholas Hooper)

    To be honest, when things are bright and happy, this score is actually not bad at all. I think the dull heavy stuff has led me to exaggerate how uninteresting it is.


    The Room of Requirement it's my favorite cue, along with Possession. I wish that the music of Harry and Luna's talk in the Forbidden Forest gets released. That's my favorite unreleased cue of the movie.
  13. NP: "Across the Sea" from LOST (Giacchino)

    Finally. Finally. Finally. A truly impressive piece of scoring that reaches out and grabs me on album. It's not the first time with LOST, but it doesn't happen nearly as often as the hype led me to believe it would. But this episode's score and its main theme... nicely done.
    A butterfly thinks therefore I am
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      CommentAuthorDemetris
    • CommentTimeNov 1st 2010
    franz_conrad wrote
    NP: "Across the Sea" from LOST (Giacchino)

    Finally. Finally. Finally. A truly impressive piece of scoring that reaches out and grabs me on album. It's not the first time with LOST, but it doesn't happen nearly as often as the hype led me to believe it would. But this episode's score and its main theme... nicely done.


    How about 'moving on'?
    Love Maintitles. It's full of Wanders.
  14. That's nice, but it's not exactly a revelation. LOST has had that sort of weepie melodrama music (it's lovely, but that's a fair description) all along. 'Across the Sea' has this powerful mysterious melody at the heart of it that is one of the strongest themes I've heard in a while, and certainly the strongest on LOST. I gather the episode had some motivation to go into such a dramatic sound. (LOST so often hovers in uncommittal suspense to keep the audience involved week-to-week.)

    I will say this - that 'Final Episodes' double album is easily the best release from that series so far. The orchestrations feel richer, the highlights more frequent, the music somehow more cinematic (like 'Across the Sea') overall.

    NP: The Black Robe (Delerue)
    A butterfly thinks therefore I am
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      CommentAuthorMarselus
    • CommentTimeNov 1st 2010
    franz_conrad wrote
    I will say this - that 'Final Episodes' double album is easily the best release from that series so far. The orchestrations feel richer, the highlights more frequent, the music somehow more cinematic (like 'Across the Sea') overall.


    I agree. 'Parallelocam' is another of the highlights. I LOVE the Oceanic Six theme. One of the most beautiful themes (if not the most beautiful) Giacchino has ever composed.
    Anything with an orchestra or with a choir....at some point will reach you
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      CommentAuthorDemonStar
    • CommentTimeNov 1st 2010
    WP: Megamind - Hans Zimmer and Lorne Balfe

    It's kinda generic but still a quite fun score with some fun fast-paced action cues. The love theme is quite pleasant too. Wish it ran longer than a mere 30 min though.
  15. The Last Airbender - James Newton Howard

    It may not have memorable themes, but it does have a memorable sound, like one that makes you sit up and notice. Not love at first hearing, but whenever I return to it, I'm enjoying it a lot. Here is a score that works well enough on disc, without having to see the film... not that we'll miss out on anything right? wink
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  16. DreamTheater wrote
    The Last Airbender - James Newton Howard

    It may not have memorable themes, but it does have a memorable sound, like one that makes you sit up and notice. Not love at first hearing, but whenever I return to it, I'm enjoying it a lot. Here is a score that works well enough on disc, without having to see the film... not that we'll miss out on anything right? wink


    they say the choir is at least heard during the movie, that's one reason to see it wink
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
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      CommentAuthorErik Woods
    • CommentTimeNov 1st 2010
    I'm shuffling through four more scores today including Gabriel Yared's heart breaking score to City of Angels. I'll then be listen to for the very first time Bruce Smeaton's score to Iceman. I'll then move onto MovieScore Media's very first release, the excellent jazz score Unknown Solider by Peter Calandra. I will then end the day with a score I could play on endless repeat, Rachel Portman's masterpiece,The Cider House Rules!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!