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[Closed] Now Playing XXXVII
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- CommentAuthorNautilus
- CommentTimeNov 24th 2010
Christodoulides wrote
That's ridiculous. Inception is one of the best scores he's written (have you seen the movie?) and one of the best releases of the year.
Mmm....no, it's not. it's an interesting score, and pretty good at places but it's too cold and dated in his "vangelis"-like tracks (wich are the longer ones).
If only the whole scores have been like "dream is collapsing", "radical notion", "a simple idea" and "dream withint a dream"....
And in the movie...pseeee...it's too much music and too suited. -
- CommentAuthorsdtom
- CommentTimeNov 24th 2010
The Way West/Kaper is the other half of the Kritzerland release which features The Unforgiven. The theme is sung and played on many of the tracks.
Thomaslisten to more classical music! -
- CommentAuthorsdtom
- CommentTimeNov 24th 2010
The Champion/Tiomkinlisten to more classical music! -
- CommentAuthorDemetris
- CommentTimeNov 24th 2010
Martijn wrote
Christodoulides wrote
That's ridiculous. Inception is one of the best scores he's written (have you seen the movie?) and one of the best releases of the year.
I haven't seen the movie, but the album is utterly unpalatable to me.
Droning noisy soundscapes (that, I hasten to add, may well work perfectly supporting the film).
That's so departed from what the score really is
Love Maintitles. It's full of Wanders. -
- CommentAuthorMartijn
- CommentTimeNov 24th 2010
Soundscapey drone noise?'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentAuthorDemetris
- CommentTimeNov 24th 2010
Nautilus wrote
And in the movie...pseeee...it's too much music and too suited.
Interesting. The press, the reviewers, the audiences, everybody thought it was nothing short but brilliant. I did too.Love Maintitles. It's full of Wanders. -
- CommentAuthorTimmer
- CommentTimeNov 24th 2010
One of my scores of the year ( and I ain't even a Zimmer fan )On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorMartijn
- CommentTimeNov 24th 2010
Crikey. I must have missed something in that score.'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentAuthorNautilus
- CommentTimeNov 24th 2010
Christodoulides wrote
Nautilus wrote
And in the movie...pseeee...it's too much music and too suited.
Interesting. The press, the reviewers, the audiences, everybody thought it was nothing short but brilliant. I did too.
Not everybody. Martijn, Erik and Me . Count 3 at least.
Sherlock Holmes and Inception are overscored. too much music in the movie. About the albums one it's brilliant and the other is interesting. -
- CommentAuthorErik Woods
- CommentTimeNov 24th 2010
Martijn wrote
Crikey. I must have missed something in that score.
No... you didn't While I actually enjoyed the album the score in the film is atrocious!
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorNautilus
- CommentTimeNov 24th 2010
Erik Woods wrote
Martijn wrote
Crikey. I must have missed something in that score.
No... you didn't While I actually enjoyed the album the score in the film is atrocious!
-Erik-
Blame Chris Nolan. -
- CommentAuthorFalkirkBairn
- CommentTimeNov 24th 2010
NP: Dead of Winter - Richard Einhorn
Not a score to listen to with a lot of background noise going on. It's quite a delicate score so far being orchestrated for piano, harp, reeds, strings and percussion.
Agreeing with what Bruce Kimmel says in the notes: "...atmospheric scoring...eerie, beautiful, suspenseful, and perfectly evokes the snowy New England setting."
A nice change from the 110% scoring that's around today.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 -
- CommentAuthorNautilus
- CommentTimeNov 24th 2010
It had to be very dificult to score a Nolan film, not only because because of this musical taste but because his style of filmaking.
No posible way to put a melodical structure on his films. Clint Mansell , Cliff Martinez or Julian are the perfect kind of composer. Zimmer is a "tune maker". -
- CommentAuthorSouthall
- CommentTimeNov 24th 2010
Farewell to the King - Basil Poledouris
Now this is magnificent. -
- CommentAuthorDemetris
- CommentTimeNov 24th 2010
Interesting; i thought it was tense and brilliant in the movie.Love Maintitles. It's full of Wanders. -
- CommentAuthorTimmer
- CommentTimeNov 24th 2010
Southall wrote
Farewell to the King - Basil Poledouris
Now this is magnificent.
Yes, it is! I think you should be given 10 kudos points for an appropriate use of the word 'magnificent'.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorTimmer
- CommentTimeNov 24th 2010
NP : RED SONJA - Ennio Morricone
A most excellent score!On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorSouthall
- CommentTimeNov 24th 2010
Timmer wrote
Southall wrote
Farewell to the King - Basil Poledouris
Now this is magnificent.
Yes, it is! I think you should be given 10 kudos points for an appropriate use of the word 'magnificent'.
Why thank you!
Farewell to the King is the most wonderful John Barry tribute I've ever heard. There are moments in "Nigel's Trip" (my single favourite Poledouris cue) which sound like they could have been penned by the great man himself. -
- CommentAuthorEric
- CommentTimeNov 24th 2010
NP : The Pacific - Hans Zimmer , Geoff Zanelly & Blake Neely
I'm in the process of watching the series with my son .
I love the theme and the rest is growing on me as well ..."Simplicity is the key to brilliance" -
- CommentAuthorNautilus
- CommentTimeNov 24th 2010
Christodoulides wrote
Interesting; i thought it was tense and brilliant in the movie.
"dream within a dream" and "radical notion" are TERRIFIC. -
- CommentAuthorMarselus
- CommentTimeNov 24th 2010
Eric wrote
NP : The Pacific - Hans Zimmer , Geoff Zanelly & Blake Neely
I'm in the process of watching the series with my son .
I love the theme and the rest is growing on me as well ...
It will grow even more once you watch the series, trust me. The whole season is perfectly scored, but the last episodes are specially brilliant. The love theme for Basilone and Lena ('We've Gone Respectable', 'Where Do We Go From Here') gets a superb treatment in the episodes focused on those two charcaters (specially in episode 8 if memory serves).Anything with an orchestra or with a choir....at some point will reach you -
- CommentAuthorBobdH
- CommentTimeNov 25th 2010 edited
JP: HARRY POTTER AND THE DEATHLY HALLOWS, PART 1 - Alexandre Desplat
The lukewarm reactions this score is getting got me worried a bit, but the clips on the soundtrack site really surprised me a lot, so I decided to pick this up when I found it this evening in stores. Also because I decided I wanted a musical completion of my Potter collection, which I stopped collecting when Hooper ruined it all. And I'm really, very pleasantly surprised.
Since the booklet already warned me that only 3 tracks contained Hedwig's Theme (which is fair enough - Williams also used it twice a film tops), I knew what I was getting in to. And still, I was surprised at how warm and epic Desplat's sound has become. Besides a few typical trademarks of his, these are only little Desplat-touches within a completely different framework that'll certainly please detractors of the man - my reservations of his intellectual-yet-cold style are gone, with some instantly emotional cello-solo's towards the end. He definitely triggers Williams in the action music, but also the rest of the score seems written to come full circle with Williams' beginnings, hopefully working towards a more thematic finale of Part 2 that confirms this.
There are flaws, of course, some to be considered major even. While Desplat constructed a thematic score, none of these themes truly stand out as a voice for this particular film. Which could be due to some grand design - he might be only setting things up, only to fully developed them come the spectacular finale. As is a major criticism of the film itself, it seems things'll really heaten up in the final part, which is where the music needs to soar. And though I had my doubt Desplat could truly live up to that task, this sneak preview of what is to come has restored my faith. Roll on Part 2! -
- CommentAuthorTimmer
- CommentTimeNov 25th 2010
Southall wrote
Timmer wrote
Southall wrote
Farewell to the King - Basil Poledouris
Now this is magnificent.
Yes, it is! I think you should be given 10 kudos points for an appropriate use of the word 'magnificent'.
Why thank you!
Farewell to the King is the most wonderful John Barry tribute I've ever heard. There are moments in "Nigel's Trip" (my single favourite Poledouris cue) which sound like they could have been penned by the great man himself.
Indeed. He was in awe of Barry's work when I talked to him after the RAH concert in 97 ( I think? ), what a lovely man and what a seriously missed talent.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthoryonythemoony
- CommentTimeNov 25th 2010
BobdH wrote
JP: HARRY POTTER AND THE DEATHLY HALLOWS, PART 1 - Alexandre Desplat
The lukewarm reactions this score is getting got me worried a bit, but the clips on the soundtrack site really surprised me a lot, so I decided to pick this up when I found it this evening in stores. Also because I decided I wanted a musical completion of my Potter collection, which I stopped collecting when Hooper ruined it all. And I'm really, very pleasantly surprised.
Since the booklet already warned me that only 3 tracks contained Hedwig's Theme (which is fair enough - Williams also used it twice a film tops), I knew what I was getting in to. And still, I was surprised at how warm and epic Desplat's sound has become. Besides a few typical trademarks of his, these are only little Desplat-touches within a completely different framework that'll certainly please detractors of the man - my reservations of his intellectual-yet-cold style are gone, with some instantly emotional cello-solo's towards the end. He definitely triggers Williams in the action music, but also the rest of the score seems written to come full circle with Williams' beginnings, hopefully working towards a more thematic finale of Part 2 that confirms this.
There are flaws, of course, some to be considered major even. While Desplat constructed a thematic score, none of these themes truly stand out as a voice for this particular film. Which could be due to some grand design - he might be only setting things up, only to fully developed them come the spectacular finale. As is a major criticism of the film itself, it seems things'll really heaten up in the final part, which is where the music needs to soar. And though I had my doubt Desplat could truly live up to that task, this sneak preview of what is to come has restored my faith. Roll on Part 2!
I agree. For me, it's the best non-Williams Potter score. Besides everything you said, also there's another thing which it's good from this score. It perfectly captured the spirit of the book. Lovegood perfectly represents the quirkyness and enchant of the Lovegood family, The Dumbledores the teachings of Dumbledore, Bellatrix it's pure madness like Bellatrix herself. -
- CommentAuthorKevin Scarlet
- CommentTimeNov 25th 2010
Christodoulides wrote
DreamTheater wrote
Kevin Scarlet wrote
The Karate Kid - Horner
I'm enjoying this much more than I thought. I've played "Final Contest" about 4-5 times already. It might be one of his best tracks IMO...
It's a good track but Horner has done so much better in the past, especially finale cues.
And have you listened to The Horsemen Kevin? That IMO is a real return to his former self.
The melodic thematic pieces from that karate score are gorgeous.
My only gripe with Karate Kid is the same thing some reviewers said, that last cue is somewhat unresolved. But aside from that, I enjoyed it...
And I have listened to The Horsemen...magnifique!!
-
- CommentAuthorKevin Scarlet
- CommentTimeNov 25th 2010
Christodoulides wrote
DreamTheater wrote
I would merely say they're nice, but to each his own.
King Kong - James Newton Howard
I never gave this score a real chance, and now I can see why. To me, it just doesn't have the emotional drive and enjoyability of the best JNH scores out there. Some good action cues and likeable softer music is enough to warrant a listen (or more in the future). But it's another case of the composer not having had enough time to write a real classic to match the film's themes and epic scope. At least it has some very memorable themes, that always counts for something.
When you're in the mood, just play the BEAUTY KILLED THE BEAST variations, the last 4 pieces on the disc. Then we'll talk about emotional drive again 
Yeah, I think this is Newton Howard's best work...it sounds even better in the movie. "Central Park" is especially lovely. -
- CommentAuthorKevin Scarlet
- CommentTimeNov 25th 2010 edited
BobdH wrote
JP: HARRY POTTER AND THE DEATHLY HALLOWS, PART 1 - Alexandre Desplat
The lukewarm reactions this score is getting got me worried a bit, but the clips on the soundtrack site really surprised me a lot, so I decided to pick this up when I found it this evening in stores. Also because I decided I wanted a musical completion of my Potter collection, which I stopped collecting when Hooper ruined it all. And I'm really, very pleasantly surprised.
Since the booklet already warned me that only 3 tracks contained Hedwig's Theme (which is fair enough - Williams also used it twice a film tops), I knew what I was getting in to. And still, I was surprised at how warm and epic Desplat's sound has become. Besides a few typical trademarks of his, these are only little Desplat-touches within a completely different framework that'll certainly please detractors of the man - my reservations of his intellectual-yet-cold style are gone, with some instantly emotional cello-solo's towards the end. He definitely triggers Williams in the action music, but also the rest of the score seems written to come full circle with Williams' beginnings, hopefully working towards a more thematic finale of Part 2 that confirms this.
There are flaws, of course, some to be considered major even. While Desplat constructed a thematic score, none of these themes truly stand out as a voice for this particular film. Which could be due to some grand design - he might be only setting things up, only to fully developed them come the spectacular finale. As is a major criticism of the film itself, it seems things'll really heaten up in the final part, which is where the music needs to soar. And though I had my doubt Desplat could truly live up to that task, this sneak preview of what is to come has restored my faith. Roll on Part 2!
Bold emphasis mine...
I'll never understand what people are talking about when they describe Desplat's music as cold. I fell in love with it instantaneously... -
- CommentAuthorErik Woods
- CommentTimeNov 25th 2010
host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorDemetris
- CommentTimeNov 25th 2010
CLINT MANSELL - faster
I am a sucker for this man's work.Love Maintitles. It's full of Wanders. -
- CommentAuthorFalkirkBairn
- CommentTimeNov 25th 2010
Christodoulides wrote
Thanks to Alan for making me aware of this little...
That's always nice to see.
Cheers D.
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