[Closed] Now Playing XLIX

Capricorn One Jerry Goldsmith

If I want to play this on speakers, I tend to go for the original album (and by that I mean the rerecording). If I want to listen to it on headphones, I prefer the original score. Both are worth having.

I was sure he'd adore it

Loved the film and the mesmerizing score. Mr. Junkie XL, more of this stuff, less of the noise please

The Adventures of Tintin John Williams

Is the sequel still being made? Will anyone care by then? If Williams is scoring it, I certainly will. (I hope BFG is as good as this.)

Really? Well I'll have to give this a sampling then. Thanks.

Looking forward to hearing more Twin Peaks music.

Not sure how well you remember the film, but there is a great cue before the big helicopter shootout, scoring the final "preparations" for the confrontation, it features probably some of the best emotional and anthemic material from the score (the victory/Devoe theme leads to the Sarajevo theme and one of the action themes in a more lush than anywhere else fashion). A faux-heroic motif (more like a determined French horn melody) is totally missing from the original album (one thing I hate, that applies for any composer, is when a score album actually omits recurring *themes*. Same thing happen with First Knight).

Sometimes I wonder how the album compilation is decided. For example, while he might not be a fan of the full score in this case (though a chronological program helps The Peacemaker more than any Hans Zimmer score, really, perhaps with the exception of Thelma and Louise and, maybe, Rain Man), The Peacemaker features some more dramatic material people would love - I don't think Thor would mind having the aforementioned "I Must Go" (sorry for the bootleg title here) cue, on the contrary. Another notable omission (though understandable in a regular album release) is the lush string arrangement of a Chopin piece from earlier in the film. The full helicopter action sequence is a bit more well-rounded than the cut program (a missing theme statement speaks for itself, even if some of the harsher action didn't age TOO well).

On a sidenote, The Peacemaker in its complete form shows how much the score foreshadows and is basically a prelude to his epic work on Prince of Egypt and Gladiator, full with the Holstian influences. All in all however, except a rather intricate structure, quite well noticed in, gasp, Clemmensen's review of the complete score, and probably a potential revelation for people who haven't heard the boot when it was around, due to the structure of the piece.

NP: SHAOLIN (Nicolas Errera)

Has some nice Oriental flavours (erhu?), but fairly straightforward. Giving this a couple of more spins before I decide if it's worth having in my too-large iTunes collection.

Lincoln John Williams

My favourite of his Americana-type scores (unless you count American Journey). Doesn't have the show-stopping concert themes of Saving Private Ryan or Amistad, and certainly not the action of The Patriot. But on the whole, it's a far more satisfying score than any of those. I even like the folk music. It's a fine album.

Still, I'm not sure I want to hear another one of these scores from Williams. That's why the IMDb line up is looking particularly hopeful.

I saw his latest film, THE HANDMAIDEN, in Cannes, and it was really, really good. Yeong-wook Jo's score too -- despite the ubiquitous Philipp Glass influence.

The film is cheese with knobs on. I find it so bad it's bad, not good.

The score has some great moments. I love the interpolation of Wagner's Ride of The Valkyries in one of the action tracks.

Nice one Thor, very excited to see it! The trailer alone looked as visually stunning as all of Park's previous work.



Cujo - Charles Bernstein

Not quite in the same league as his Elm St or Entity scores but it's still superior of its type.

X-Men: Apocalypse - John Ottman and probably some other uncredited guys

Well, it starts out reasonably enough in the opening three tracks with some enjoyably overblown choral nonsense, but has taken a turn for the dull ever since. And what the heck is up with the Shawshank Redemption rip in "Eric's Rebirth" at 2:15? Now there's a score I never thought I'd hear temped in a superhero movie!

Such a bizarre, unforgettable film. I should go find the music and give it a try.

I'm really, really jealous

I love Park Chan-wook films, so I really can't wait to see this. I didn't realise Jo Yeong-wook scored it, so that's something else to look forward to.