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[Closed] Now Playing XLVII

General Discussions » Now Playing XLVII (Posts 2341 to 2370 of 3340)

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  1. Thor wrote
    NP: THE AVENGERS (Joel McNeely)

    I think I saw the film ages ago, but have no memories of it. I know it was lambasted. BUT -- as sometimes happens with poor films -- the score is brilliant! Colourful, with one setpiece after the other. The 63 minutes fly by!

    Who are you and what have you done with Thor? A bombastic score on a long album...and you like it? shocked
    •  
      CommentAuthorThor
    • CommentTimeFeb 5th 2015 edited
    Edmund Meinerts wrote
    Thor wrote
    NP: THE AVENGERS (Joel McNeely)

    I think I saw the film ages ago, but have no memories of it. I know it was lambasted. BUT -- as sometimes happens with poor films -- the score is brilliant! Colourful, with one setpiece after the other. The 63 minutes fly by!

    Who are you and what have you done with Thor? A bombastic score on a long album...and you like it? shocked


    I do. But as I may have mentioned elsewhere, I find that my tolerance level for bombastic scores is much, much higher when it comes to those things I discovered in my formative years. It's post-90s scores in the same idiom that I usually have a problem with. Whether that has to do with me, personally, or a change in sound is hard to say. But I do think that in the case of, say, THE AVENGERS, there's something about the melodic immediacy and the 'setpiece' thinking, with each track having its own identity, that I can't find in something like the ostinato/cell/cluster-heavy JUPITER ASCENDING, for example.
    I am extremely serious.
    •  
      CommentAuthorRalph Kruhm
    • CommentTimeFeb 5th 2015 edited
    NP: Jupiter Ascending - Michael Giacchino

    Done with my third go at it.

    It is the sound.

    Obviously, this is a magnum opus. It has everything (but themes), like some of Giacchino's other stuff had, but this time, all those notes, the big orchestra, the choir, have been given room to breathe, and it changes things. A lot.

    Also, I'm now warming up to the couple of motifs he uses. I think they fit very nicely together, weaving a tapestry that will - hopefully - give the movie its soul. But I still miss grand thematic stuff. It's exactly that: Something to hum for more than 4 seconds without going dumb (which is what happened with Star Trek).

    The score certainly does benefit a hell of a lot from multiple spins, and if the movie doesn't suck, I'm guessing it will get them from me. I'm starting to notice structure in the chaos, intentions and groundwork.

    And I'm beginning to suspect something. Given that this is supposed to be (or at least initiated to be) Warner's big new franchise, maybe Giacchino tried to hold back on the bigger thematic level and just introduces us to the basic motifs. Maybe he just left some room for the future, like Blake Neely did with his Arrow theme that he built up slowly as the series progressed, like Desplat did with the Golden Compass.

    Let's hope he gets a chance to revisit this material. Right now it's a good score (great score, as many think, but I'm speaking personally; I'm still not getting the emotional input!), but the complete thing has the potential to be really great, majestic even, after three or more movies. And I'm strongly counting on the movie to connect me with the score emotionally. Then all is good.
    •  
      CommentAuthorThor
    • CommentTimeFeb 5th 2015
    NP: THE WIND RISES (Joe Hisaishi)

    Not my favourite Hisaishi, but still bloody good. The film came in at my 14th place last year, which is also bloody good. I think it's a testament to Miyazaki and Hisaishi's skills that even though this wasn't at the VERY top of the lists, it's still through-and-through excellent.
    I am extremely serious.
    •  
      CommentAuthorSteven
    • CommentTimeFeb 5th 2015
    Ralph Kruhm wrote
    And I'm beginning to suspect something. Given that this is supposed to be (or at least initiated to be) Warner's big new franchise, maybe Giacchino tried to hold back on the bigger thematic level and just introduces us to the basic motifs. Maybe he just left some room for the future, like Blake Neely did with his Arrow theme that he built up slowly as the series progressed, like Desplat did with the Golden Compass.


    I think that's a terrible reason to hold back on big themes (only in very few instances does holding back on themes work, ala Casino Royale... but even then it had a decent sub-theme, plus the Bond theme is slightly different by virtue of it already being famous). Imagine if Star Wars had 'just introduced us to the basic motifs' while leaving 'room for the future'! Perhaps it's just an accident of the writing; it certainly has themes, they're just not particularly memorable.

    Don't get me wrong, I really like this score -even after the initial wave of excitement of hearing such full-blooded sci-fi, action music- but it leaves a little to be desired on the theme front.
  6. I'm not saying it's the best idea either, just that it's a possible explanation, and if it happens to be fact, then I will certainly look back at this score with a more loving eye. Ear. Whatever.

    But of course having sweeping themes right from the beginning is what I'd have preferred.
    •  
      CommentAuthorBregje
    • CommentTimeFeb 5th 2015
    Perhaps people who write elaborate posts, for instance about Jupiter Ascending, could copy them in the composers thread as well. I just digged through 10 pages of NP to find comments on this score while the Giacchino thread is so quiet as if he didn't just release a goddamn awesome score.

    Hello by the way wave
    •  
      CommentAuthorThor
    • CommentTimeFeb 5th 2015
    Good point, Bregje. That's why I posted by JUPITER ASCENDING rant there instead of here.
    I am extremely serious.
    •  
      CommentAuthorSteven
    • CommentTimeFeb 5th 2015
    We have a Giacchino thread? Hmm.
    •  
      CommentAuthorErik Woods
    • CommentTimeFeb 5th 2015
    Ralph - Dan Wallin is the reason why the majority of Giacchino's post Secret Weapons Over Normandy scores sound dry. Wallin has retired, thankfully, and Joel Iwataki is recording Michael's music and has been since Into Darkness.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorMartijn
    • CommentTimeFeb 5th 2015
    Seems to me to be more of a Zeitgeist issue than anything else: sweeping themes simply don't seem to be very much in vogue any more (with some directors, like Nolan, even expressly dismissing them!).

    I don't think Giacchino 'holding back' is the answer.
    It just wouldn't make much sense, musically.
    Plus of course we've seen what 'holding back' on themes has really meant in previous cases (e.g. Zimmer on the Bat) : absolutely nothing. Sounds interesting when talking about it, but without actually doing anything about it it seems pretty silly in retrospect.

    Oh, and hello Bregje. smile
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorRalph Kruhm
    • CommentTimeFeb 5th 2015 edited
    Erik Woods wrote
    Ralph - Dan Wallin is the reason why the majority of Giacchino's post Secret Weapons Over Normandy scores sound dry. Wallin has retired, thankfully, and Joel Iwataki is recording Michael's music and has been since Into Darkness.

    -Erik-

    I must admit that I never gave Into Darkness an honest listen, besides putting on one of the Odes now and then under less than ideal audio circumstances, but I do remember that the first big reappearance of the Main Theme, just after they leave the prologue planet and go to warp, was a very rousing scene that I liked very much in the theatre. Maybe it was an unconscious reaction to the sound, or maybe just because the scene itself was kinda epic (that fade from the form of the Enterprise the "priest" drew into the sand to the real ship soaring through space was just wow).

    Thanks for the info. It's way time I gave it a spin.
    •  
      CommentAuthorThor
    • CommentTimeFeb 5th 2015
    NP: MIRACLE APPLES (Joe Hisaishi)

    I have absolutely zero knowledge of this Japanese feature film from 2013 (it seems obscure even there), but the music is classic Hisaishi -- a tinkling piano motif, loads of straight-from-the-heart melodies and so forth.
    I am extremely serious.
  14. Martijn wrote

    And before we get the "but there are two recurring notes" argument all over again, I am talking about a easily concert-isable theme. A clear leitmotiv. Leia's theme. The Raider's March. The James Bond Theme. Stuff like that. Something you can whistle along to for more than 4 seconds.


    I have come to listen to such scores like I would to a symphony from start to end. So I don't really miss the thematic suites. These are fine for compilations to which I seldom listen these days.

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorMartijn
    • CommentTimeFeb 5th 2015 edited
    Captain Future wrote
    I have come to listen to such scores like I would to a symphony from start to end.


    Well...
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    • CommentAuthorTimmer
    • CommentTimeFeb 5th 2015
    Martijn wrote
    Captain Future wrote
    I have come to listen to such scores like I would to a symphony from start to end.


    Well...


    applause
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorScribe
    • CommentTimeFeb 5th 2015 edited
    NP: Night at the Museum: Secret of the Tomb - The Wine Dude

    Worth checking out. Exciting, propulsive, strongly recorded and not-Thor-friendly adventure music that's at equal or perhaps higher level to recent similar efforts from the composer like Avengers and GI Joe. "Xiangliu" is a kick-ass choral action spectacle reminiscent of The Mummy Returns. I'm a bit surprised I haven't heard a word breathed about this score yet, considering the film has been out for almost 2 months.
    I love you all. Never change. Well, unless you want to!
  18. Yeah, for some reason that one just passed me by this year. How does it stack up to the previous two? I hope it's not as redundant as Battle of the Smithsonian was.
    •  
      CommentAuthorSouthall
    • CommentTimeFeb 5th 2015
    Edmund Meinerts wrote
    Yeah, for some reason that one just passed me by this year. How does it stack up to the previous two? I hope it's not as redundant as Battle of the Smithsonian was.


    Better than either of them.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorSteven
    • CommentTimeFeb 5th 2015
    Scribe wrote
    NP: Night at the Museum: Secret of the Tomb - The Wine Dude

    not-Thor-friendly adventure music


    Good lord.
    • CommentAuthorDavid OC
    • CommentTimeFeb 6th 2015
    The Kid Stays in the Picture - Jeff Danna

    I absolutely adore this documentary score. Almost as talented as his brother, it's a shame he hasn't been offered higher profile films over the years.
    https://2020filmsight.wordpress.com https://screenfanaticblog.wordpress.com
    • CommentAuthorDavid OC
    • CommentTimeFeb 6th 2015
    Listening to Brian Tyler's Final Cut and Godsend back to back was getting depressing. Both have minor moments of thematic interest but overall are incredibly dreary and similar in tone too - one seemingly bled into the other.

    Will spin David Hirshfelder's ELIZABETH for a hopefully more lively listening experience.
    https://2020filmsight.wordpress.com https://screenfanaticblog.wordpress.com
    •  
      CommentAuthorThor
    • CommentTimeFeb 6th 2015
    NP: ONE DAY IN FALL (Jennifer Athena Galatis)

    This is gorgeous. Minimalist tendencies with reliance on piano and strings -- a bit "Yann Tiersen" at times, only more classical. I'm not familiar with any of her other work.
    I am extremely serious.
  24. David OC wrote
    Listening to Brian Tyler's Final Cut and Godsend back to back was getting depressing. Both have minor moments of thematic interest but overall are incredibly dreary and similar in tone too - one seemingly bled into the other.

    I don't remember much about Godsend but I think The Final Cut is one of Tyler's more interesting and underrated scores. The main titles from that, at least, is a piece I return to quite often. I like how it kind of seems to foreshadow Lady in the Water.
    •  
      CommentAuthorBregje
    • CommentTimeFeb 6th 2015
    Steven wrote
    Star Trek Michael Giacchino

    As impressive as Jupiter Ascending is, nothing quite matches 'Enterprising Young Men', or indeed the end titles suite.

    Love the end titles suite. Love love love
  26. Jupiter Ascending Giacchino

    Really liking this!
  27. There's a serious John Barry vibe to 'The Titus Clipper', really nice.
    • CommentAuthorTimmer
    • CommentTimeFeb 6th 2015
    John Chambers wrote
    There's a serious John Barry vibe to 'The Titus Clipper', really nice.


    Yes, that's been mentioned by someone else here who's not me. wink I agree too!
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  29. John Chambers wrote
    Jupiter Ascending Giacchino

    Really liking this!


    Outstanding! I love it more with every listen. And, yes, I also thought of Barry, when I first listened to the Clipper cue.

    Volker
    Bach's music is vibrant and inspired.
  30. NP: Wolf Hall - Debbie Wiseman

    Excellent "period" score that's dramatic yet also tender where it needs to be. The score has an exuberant main theme that's the highlight. Album's out at the beginning of March from Silva Screen.

    This is one of the best things on television at the moment.
    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

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