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"From Topless Robot"
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Let's just change that guys name to Metal Tit, eh! 
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It's because for people like him, scores in movies are becoming more and more minimalist. Yes, minimalist is a great style too, but not THE style movies are to be always scored, not to mention superheroe movies. This guy apparently has forgotten movies 10+ years old.
You can have a score with big themes and old-fashioned heroism without it sounding as distracting, sacharine, and unsubtle as Horner's Amazing Spider-man. I respect that some people here like the score, but this trend of "if you don't like it, you're the reason that so many film scores sound like Hans Zimmer" arguments is getting really ridiculous. You shouldn't have to respond to a film score along ideological lines, as though we have to like ANY big theme-filled score because of what it represents.
I love old-fashioned film scores, and I think it's completely possible that an excellent one could be written for Spider-man. But Horner's score, which blankets the film in tinkling piano cycles, new age synth choirs, and general sentimental bombast, was not it. Even 1978's Superman didn't feel the need to put music in every last last minute of the film, or to score every single moment as though it held crushing emotional significance. There's a time for overtly emotional music - in the emotional high points of the film. Not when Peter Parker's doing internet research, getting off the subway, or picking gum off of his shoe. During the big "Lizard at School" sequence, the music is so loud and obnoxiously heroic that I could barely make out the wisecracking dialogue (which leads to another question - why emphasize the hip "wisecracking" coolness of your hero if you're going to bury it new age synth pads that would have sounded dated in 1993?).
I don't mean to insult the people who like the score, but can't we at least take the music on its own terms? Are we really so starved and nostalgic for old-fashioned music that we'll take it anywhere, no matter how it actually functions in the film itself?
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I think that if the score would have been another themeless synth noise fest ala Zimmer or something like that most of people here would be whining about not having a old fashion score. We have one, and everyone says it's cheesy and etc? You people are helpless and nothing satisfies you.
Film music is not dying, it's becoming another crazy fandom of snobbish people who think they know more about music than people who writes it from several decades, instead of stop being just narrow minded and enjoy music for what it is, not asking what should have been or must have been.
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Posted: |
Jul 11, 2012 - 6:39 AM
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By: |
LeHah
(Member)
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You can have a score with big themes and old-fashioned heroism without it sounding as distracting, sacharine, and unsubtle as Horner's Amazing Spider-man.
I'm sort of surprised to hear this because the best word I can find for this score is bland. Its not bad, I don't dislike it but outside of a trumpeted title theme and some of his old tricks, I never think to myself "Wow, I really want to hear THAT track again"
A lot of it seems to be not recycled but "boiled down" - the piano stuff sounds a lot like The New World but without any of the grandeur or feeling to it, the action cues are just orchestral chattering, the singing left overs from Four Feathers. And whats strange is that Horner using his old tricks never, ever bothers me... but this seems like he was bored or something? Or Marc Webb kept asking him to reel it in?
I mean, if you like this score, more power to you. But I was really looking forward to this one and it seems a rather strange disappointment. I'll stick with Elfman's Spider-Man 2 (which now seems forever ago).
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The first Horner score in ages that I truly enjoyed. I like the heroic stuff, the action material and the tender piano pieces. And it even had some suprising passages for example the last 25 seconds of track 17 (Saving New York) with its wild piano playing. Fantastic score and very memorable. And that`s something you can`t say about a lot of scores these days.
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I'm really digging this score. It's having what I'm now calling the "John Carter" effect where I listen, think it's ok, then realize I've been playing it constantly three days in a row. And I can't stop whistling the main theme.
I recognized the Sneakers / Beautiful Mind similarities and of course the old Horner stand-bys. The only thing that took me out of the score (but not the movie) where the very Titanic-like synths at the end of Saving New York. (Watching the film during the crane bit I was probably too busy thinking "Good heavens this is awful - why do I feel like cheering?!?")
I really loved the flick as well.
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Well, saw the film tonight (in good ole 2D!). I love Spidey (used to buy the comic books til they got more expensive and started having multi-crossovers in the late 1980s) but prefer the Sam Raimi films to this new one.
James Horner's score was serviceable and at least it had themes! I do think that it is great that they're giving major gigs like this to genuine composers, even though their natural 'voice' may be held back by the filmmakers.
The film as a whole was similar in construction to Rise Of The Planet Of The Apes - the scientific stuff etc. The lizard biz, although of course a character in the comics, was almost a replay of the Doc Ock battle in the Raimi film and I was also reminded of Green Lantern, which was a flop - strange how films that are similar end up the earlier being a flop and the later a hit.
So passable entertainment but not earth shattering, same with the score - though I may buy it.
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