[Closed] Now Playing XXXIX

NP : THE BATTLE OF BRITAIN - Ron Goodwin / Sir William Walton



Two contrasting scores, both are superb!

NP : POSSESSION - Gabriel Yared



A stunningly beautiful score, the operatic first track is a showstopper.

Maybe it's the forefront that really scares people?

Remember the times when there was a lot less of music in films and the spotting was far more careful? Most recently a piece of ingenious spotting was Super 8, which handled major suspense sequences in total silence. I must say I do have my theory here.

Some composers get to make an impression on Steven Spielberg or Jerry Bruckheimer. Others get to make an impression on Nicholas Meyer or Leonard Nimoy. From this, all else follows.

RP: 30 Days of Night - Brian Reitzell
Harsh listening and not a score I'd exactly recommend, although I think it works great in the film. Not music as much as it is sound design. Being a veteran role player, I would however recommend it any day to game masters who want to create a really nasty athmosphere in their games.

RP: The Abyss - Alan Silvestri
The final three cues are magnificent and the rest is quite good. Interesting that the most straight Silvestri-stuff seems almost out of place. But the final cues are definitely the album's saving graces.

RP: Arachnophobia - Trevor Jones
A fine score for a fine film. Nice main theme and some very functional underscore, too. Not Jones' finest effort perhaps, but by no means a bad score. A damn shame that the powers that be in Hollywood seem to have lost Trevor Jones' phone number.

Going after fortune and glory, kid, fortune and glory. (Didn't find either, though. So I'm back!)

Good to see you man

And yeah, I agree with you, though I am exceptionally partial to the ( VERY ) Malcolm Arnold influenced Battle In The Air, an outstanding piece of film music that is brilliantly used in the film, no sound effects, just music and visuals, a film composers dream.

The Shrine - Ryan Shore

At last!.................A dud from Moviescore Media/Screamworks that is.
I love Shore's past work but this is about as uninteresting as anything I've heard in ages.



Now onto Marco Beltrami's Mimic.

Not sure how an expanded release would play out - perhaps the 30 quality mins here are perfect enough (as with The Faculty). That open titles piece is still great as are the few idiosyncratic pounding action cues.

I never bothered with the CD to this score, I bought it on LP when it was released and was really disappointed, I tried multiple times to get into it with no success, a rare Williams 'miss' for me.

NP : MAN WITH A MOVIE CAMERA - The Cinematic Orchestra



Jazz/electronica chill out, wonderful stuff.



I've put this here as apparantly they composed this for some silent Russian film.

I think the score is FANTASTIC! One of Williams' most under appreciated... as confirmed by Thor above... Rousing themes, brilliant suspense music, great fanfares, a finale that is among one of the best Williams has ever composed! Great, GREAT, GREAT score.

-Erik-

I find that many of Harvey's scores benefit immensely from a little trimming. Bringing these 70-odd minute CDs down to a well chosen 40-45 minute one really brings home how fine a composer he really is!



Yup, I find myself never returning to this score either.
I just really don't find it all that interesting.

NP: STAR WARS ON CHURCH ORGAN (John Rose, organist)

And so I'm into my STAR WARS albums. First off is this weird curiousity album with the famous themes performed by John Rose on some church organ somewhere (forgot its name). It's quite fascinating, and many of the cues actually work very well in this setting!

I don't listen to it all that often, but I enjoy it when I do. A couple of really good cues. It's obviously not Star Wars / Superman etc - seems like a "diet" version of them really.