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But it has those four chords (which he still uses).

But what if the strings are playing the chords?

-Erik-

NP: Timeline - Brian Tyler

All right, this is a fine score in its own rights. Does anyone know the Goldsmith score? I don't and cannot compare anything.

It's OK, but quite perfunctory and autopilot-y.

NP: Hans Zimmer - Man of Steel

Very glad I bought the limited edition since I find myself listening more to the more suite-like tracks of the second disc that are better developed than the ones that got into the final score. Also, having seen the (flawed) film does add to the likability of the score.

NP: Olympus Has Fallen - Trevor Morris

Having seen the film, I do admire/like the score much more. Like the movie, the score is very aggressive, lots of snarling brass and pounding percussion. I do wish that there was a more identifiable, melodic theme for Gerard Butler's character, since he has to carry much of the film's running time. There are thematic material sprinkled through out, but, it's a bit of a missed opportunity, IMHO. The two major action cues in the beginning of the score are EXCELLENT and, combined with most of the melodic materials, quite frankly, worth the purchase of the album.

Just watched Man of Steel. Most of it was

Things I did like though. Henry Cavill is a very good Superman but the screenplay really didn't give him much to do. He has the look but spent most of the film looking stone cold serious or beating up Zod for what seemed like an eternity.

Hans Zimmer wrote two good cues for the score. The violin solo for the destruction of Krypton and the final cue, which after 2 hours and 11 minutes finally captured the spirit of Superman. Those last 5 minutes were by far my favourite parts of the film.

I'll never watch the film again... actually, I'm thinking of firing up the original tonight to get this bad taste out my mouth. As for the score... well, I'll add "What Are You Going to Do When You Are Not Saving the World?" to MY FAVOURITES playlist and the rest can just rot!

-Erik-

My favourite cues in the movie were Goodbye, My Son, Krypton's Last (until the ostinato blared when the capsule was landing on Earth, it took me out of the film), Flight, If You Love These People and the last cue.

When it comes to the score in the film, I loved the idea that Hans created really two themes for the character, mirroring his double identity (being born an alien - the Kal-El theme - and raised a human - the Clark Kent theme). The Kal-El theme stemming directly from the motif for Krypton was an inspired idea and, in fact, that the first four notes of the Clark theme and the Krypton motif are the same melody, one being in a minor key (Krypton), the other one in a major key, though my favourite idea is how Hans leads to the Superman theme.

The idea is quite simple. The Superman theme is developing from the simplest motifs. Look to the Stars - Kal-El is born, Hans starts the soaring progressions, but stops, before the theme can start, it's just the pre-thematic material. Then during Superman's first flight attempt, the failed performance of the theme mimics the result of the flight (it's still unfinished!). Then Kal-El accepts who he is, tries again and this time he succeeds - hence the triumphant performance of the Kal-El theme. Also, notice that in both moments start with the Krypton motif.

Now, based on the end of the proper story, the fact that the full Superman theme - when the character arc is finished and I'll stress this point Superman makes his final decision (stupid or not, controversial or not, the final moments of the fight may not be in tune with the comic book canon, but they are consistent with the film's theme) - starts with Clark's theme is fully logical. And having made his choice, he earns the full thematic performance.

So narratively (with the exception of the theme for Zod, which is an unusally weak villain theme for Hans, I must say, to the point of me scratching my head, where's that great villain theme that tends to totally overshadow the protagonist theme that was the staple of his style for some time?!) I will defend the score. It's the realization that, I think, fails.

No longer we have fully-presented main title sequences (sadly, I would add), so for an origin story I think it works quite well, also on an emotional level.

Notice how after the great main title sequence, the Superman theme doesn't show up at all until the end of the Fortress of Solitude sequence and even then it's unfinished until his first heroic deed.

Had Hans had a full elaborate main title sequence like Williams had, it might have looked differently. The first flight is failed, so he cuts the theme short. Where else would you have used the Superman theme? In the oil rig sequence? The bus sequence? Clark being a kid, I don't think it'd have worked (and if I remember correctly, that scene is actually unscored, isn't it?)

I hadn't noticed it!

Giving it one final chance...

"Memoirs of an Invisible Man"
By: Shirley Walker


No, still not taken by it. Tehre are small pieces here & there, but as a whole it's not working. It's like weaker B:TAS scoring, but not as cohesive, and the music is shifting a little too much to meet the needs of the film. It probably fits the film fine, but that's irrelevant to the listening experience.

The CD is also very short, too, at 29:50. The last track is like just aregular track from somewhere around the end of the film -- there's no closing credits or track that closes the film in a musically spectacular way. The whole CD comes and goes without note if you don't pay attention.

Of... Disney's later years? Of the post-Hunchback era...?
Surely you can't mean of Disney's WHOLE legacy, with films like Bambi, Snow White and Pinocchio in its canon? Right?

Tale of a Forest. An fine score
Tom

Why does Man of Steel sound so bad on speakers and so good on headphones?