 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Jul 21, 2012 - 6:24 PM
|
|
|
|
By: |
losher22
(Member)
|
My review of this score, taken from the Film, Music & Media website:
James Horner? Who’s that? For many, many years before my interest in film scores was spurred, I’ve been a huge fan of Horner’s work. This iconic and legendary composer elevated great movies into masterworks of visual, aural, and downright visceral experiences, and continues to do so to this day. From Project X to Batteries Not Included, Aliens to Krull, and most notably Wrath of Khan to The Search For Spock (Star Trek II and III, respectively), Horner’s music has grabbed my soul and never let go. Few composers can drive grown men to tears, and Braveheart in particular is absolutely unforgettable in that respect. Well, with The Amazing Spider-Man, Horner continues his irrefutable streak as one of the best film composers of all time, and delivers an eccentric, enigmatic, and truly awesome score.
I haven’t heard any of Danny Elfman’s scores for the previous iteration of the Spider-Man films, but I was coincidentally struck at how similar opening track “Main Title – Young Peter” is to Elfman’s work on Edward Scissorhands; the onset of the album yields twinkling piano notes, accentuated by light electronics and most notably female choral-style vocals. As the next several tracks progress, the music shifts to and fro between triumphant and grandiose numbers (reminiscent of Tyler Bates’ Watchmen and John Ottman’s X2: X-Men United) and engaging yet soft sequences (reminding of John Williams’ work on the first three Harry Potter scores). Horner’s score, while initially generating a subdued, delicately beautiful, and mysterious vibe, also includes tiny forays into ethnic and tribal-type sounds, eerily capturing moments a la James Newton Howard’s Signs and Blood Diamond all wrapped into one. Once the thirteenth track, “The Bridge,” kicks in, Horner’s surging and empathetic work on Apollo 13 becomes apparent, before “Making a Silk Trap” reintroduces the female chorus and ever-so-slight electronics and then powerfully combines all the elements of the score thus far and funnels into “Lizard At School!” and changes the pace completely. On that track and the next two, I’m greeted by a thrilling entrance into the non-stop excitement and chilling zenith leading up to the closing of the album. The second-to-last song, “I Can’t See You Anymore,” is where Horner really shines, with wavering strings snapping into a piano tune of heartbreaking beauty that brings to mind Mark Isham’s delicate work on Life As A House. The final track, “Promises – Spider-Man End Titles,” then begins with soulful piano that dredges up the score’s theme and closes the album with casual aplomb.
Admittedly, I haven’t seen The Amazing Spider-Man film yet, but given the strength of Horner’s score, I’m very excited to see how it’s applied in various scenes and how its weight will carry the current movie and undoubtedly others to come. Rest assured, Horner’s created a near-perfect score here, emotionally arresting and thrilling and uplifting all the while, indeed one of the best scores thus far in 2012 next to Marc Streitenfeld’s brilliant work on Prometheus and The Grey. This score is highly recommended to all fans “superhero movies,” Horner’s legacy works, and film score fans everywhere. Fantastic!
[3.5/4]
http://www.filmmusicmedia.com/reviews
|
|
|
|
|
|
|
Hey, maybe you should do a few things before your next review.
1. Listen to Elfman's scores.
2. See the movie.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Hey, maybe you should do a few things before your next review.
1. Listen to Elfman's scores.
2. See the movie.
Yeah, you're right, music's emotional impact can never be judged independently.
Wouldn't the music's emotional impact be even greater when you see what it is he's scoring? I'm all for the standalone experience, but when you're actually reviewing a film score, it wouldn't hurt to see the film itself. And, just from a standpoint of research, I would think that listening to at least the Elfman scores for the same franchise would be a no-brainer. You'd hear even more similarities if you did that.
|
|
|
|
|
|
|
|
|
Posted: |
Jul 22, 2012 - 1:17 PM
|
|
|
|
By: |
Hurdy Gurdy
(Member)
|
When I used to write soundtrack reviews, a long time ago, for Legend, then Movie Music and finally Music from the Movies magazine, I much preferred writing the ones to which I hadn't seen the film.
Since I was reviewing a CD that existed to be played apart from the film, and bearing in mind lots of movie music fans DON'T care to see the films they were written for, it was far more liberating just to tackle the music as music.
Sure, I would recall and mention other themes and motifs making a re-appearance from previous scores, but not having to deal with the 'often terrible' films the music was supporting made for a much more pleasant experience.
While I can see, to a certain extent, that knowing how and why the score is functioning on various levels could maybe enhance the experience, I've also had many a great score ruined by finally catching the 'steaming pile' the score was written for and regretted it a long time after.
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Jul 22, 2012 - 1:49 PM
|
|
|
|
By: |
losher22
(Member)
|
When I used to write soundtrack reviews, a long time ago, for Legend, then Movie Music and finally Music from the Movies magazine, I much preferred writing the ones to which I hadn't seen the film.
Since I was reviewing a CD that existed to be played apart from the film, and bearing in mind lots of movie music fans DON'T care to see the films they were written for, it was far more liberating just to tackle the music as music.
Sure, I would recall and mention other themes and motifs making a re-appearance from previous scores, but not having to deal with the 'often terrible' films the music was supporting made for a much more pleasant experience.
While I can see, to a certain extent, that knowing how and why the score is functioning on various levels could maybe enhance the experience, I've also had many a great score ruined by finally catching the 'steaming pile' the score was written for and regretted it a long time after.
I couldn't have said it better myself, my friend, and thank you for the support! I only very recently became involved with the Film, Music & Media site and its owner, and was very intrigued by the idea of experiencing and reviewing film scores and soundtracks having not seen the films first. Prior to the last month since I've been writing for FMM, I can count on one hand the number of scores I've purchased before seeing the associated movie, and it's a totally different perspective. It really allows me to submerge myself in the pure emotion of a score without having to worry about whether its movie sucks or not.
|
|
|
|
|
|
|
|
|
|
Posted: |
Jul 22, 2012 - 1:57 PM
|
|
|
|
By: |
losher22
(Member)
|
Hey, maybe you should do a few things before your next review.
1. Listen to Elfman's scores.
2. See the movie.
Yeah, you're right, music's emotional impact can never be judged independently.
Wouldn't the music's emotional impact be even greater when you see what it is he's scoring? I'm all for the standalone experience, but when you're actually reviewing a film score, it wouldn't hurt to see the film itself. And, just from a standpoint of research, I would think that listening to at least the Elfman scores for the same franchise would be a no-brainer. You'd hear even more similarities if you did that.
I can't disagree that I'd probably be more emotionally invested in Amazing's score having seen the film first, but have to beg to differ on the affect of listening to Elfman's scores first. Strictly from an emotional impact standpoint, Horner likely wasn't trying to continue or further Elfman's work, seeing as how Amazing is a reboot of the film series for all intents and purposes. I'm of the opinion that reviewing Horner's score after having heard Elfman's scores' work would "taint" my thoughts on it.
Of course, if one was talking about judging Horner's score as compared to Elfman's scores, you're correct, but again, my intention was to independently review Horner, his music, and its emotional interplay outside of past film series iterations.
Either way, I do appreciate your opinion sir.
|
|
|
|
|
|
|
|
|
|
Posted: |
Jul 22, 2012 - 2:32 PM
|
|
|
|
By: |
Redokt64
(Member)
|
Hey, maybe you should do a few things before your next review.
1. Listen to Elfman's scores.
2. See the movie.
Yeah, you're right, music's emotional impact can never be judged independently.
Wouldn't the music's emotional impact be even greater when you see what it is he's scoring? I'm all for the standalone experience, but when you're actually reviewing a film score, it wouldn't hurt to see the film itself. And, just from a standpoint of research, I would think that listening to at least the Elfman scores for the same franchise would be a no-brainer. You'd hear even more similarities if you did that.
I can't disagree that I'd probably be more emotionally invested in Amazing's score having seen the film first, but have to beg to differ on the affect of listening to Elfman's scores first. Strictly from an emotional impact standpoint, Horner likely wasn't trying to continue or further Elfman's work, seeing as how Amazing is a reboot of the film series for all intents and purposes. I'm of the opinion that reviewing Horner's score after having heard Elfman's scores' work would "taint" my thoughts on it.
Of course, if one was talking about judging Horner's score as compared to Elfman's scores, you're correct, but again, my intention was to independently review Horner, his music, and its emotional interplay outside of past film series iterations.
Either way, I do appreciate your opinion sir.
Thank you my friend for such a great review... I had mentioned something about it earlier. Funny you also brought up the non-stop, fantastic final tracks on the release. Talk to you later...
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Am I alone in thinking that Elfman's Spider-Man material could possibly be the weakest of his career? The Amazing Spider-Man is certainly not the highlight of Horner's lush career, but I sense more enthusiasm in his music. The last time he had the opportunity to score a picture like this, was The Rocketeer (one of my favorites of his), and I think the soundtrack presented in the film represents this (the album seems poor to me).
Outside of a rousing main title theme, Elfman seemed to be dabbling in extensive use of utter lack of conviction. It's ironic to me because Hulk is a favorite Elfman score of mine, one where he really seemed to revel in playing with the sandbox of that weird film -- but Raimi's first two Spider-Man films are very fun and appear to be an exciting scoring experience, but I don't hear that in Elfman's music like I hear it in Horner's.
Everything you said, I feel exactly the opposite. Weird.
|
|
|
|
|
|
I can't disagree that I'd probably be more emotionally invested in Amazing's score having seen the film first, but have to beg to differ on the affect of listening to Elfman's scores first. Strictly from an emotional impact standpoint, Horner likely wasn't trying to continue or further Elfman's work, seeing as how Amazing is a reboot of the film series for all intents and purposes. I'm of the opinion that reviewing Horner's score after having heard Elfman's scores' work would "taint" my thoughts on it.
Of course, if one was talking about judging Horner's score as compared to Elfman's scores, you're correct, but again, my intention was to independently review Horner, his music, and its emotional interplay outside of past film series iterations.
Either way, I do appreciate your opinion sir.
If you listen to the opening cue from Horner's Spider-Man, it's pretty clear that it was temped with Elfman's Spider-Man, so where you think it sounds like Edward Scissorhands in places, the other places sound like he's scoring "around" Elfman's backbone from the first score's Main Title cue.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Jul 22, 2012 - 8:34 PM
|
|
|
|
By: |
Sirusjr
(Member)
|
It is sure an interesting question--should one review a film score without having seen the film or listening to any thematic material that may have influenced it? Many times I take the time to visit the past scores from a given series before checking out the new ones only to discover just how different the approach is by the new composer. Perhaps in some way making this clear to the readers may be of use to some readers but I don't think it is necessary to have a quality review.
As for the film itself, I think that it is going to only lead you to suffering through a number of terrible movies if you are compelled to watch the film before you review the score. Plus, in my experience there is a huge difference between how much you enjoy a score on its own and how well it fits with the film you are watching. I actually found the Spiderman score to be fairly difficult to enjoy on album presentation both in ordering of the tracks and how the music itself was mixed. However, once I went to see the film I found that it worked well and added to the experience of the movie like it should.
Still, if I was reviewing the album, the fact that I enjoyed it more once I saw the movie may be relevant to my scoring of the music itself but only insofar as I might suggest that certain listeners go watch the film before they ultimately judge the quality of the score. Still, this assumes that the film was worth watching, as it happens Spiderman is fairly agreed to be. I will concede, as you said, that you are not going to necessarily recognize the love theme or certain character's themes for what they are without watching the film, certainly not the more subtle uses of motifs for certain characters. I don't think that prevents you from judging the quality of the musical work as presented on CD though.
|
|
|
|
|
|
|
|
|
|
Posted: |
Jul 23, 2012 - 6:40 AM
|
|
|
|
By: |
losher22
(Member)
|
It is sure an interesting question--should one review a film score without having seen the film or listening to any thematic material that may have influenced it? Many times I take the time to visit the past scores from a given series before checking out the new ones only to discover just how different the approach is by the new composer. Perhaps in some way making this clear to the readers may be of use to some readers but I don't think it is necessary to have a quality review.
As for the film itself, I think that it is going to only lead you to suffering through a number of terrible movies if you are compelled to watch the film before you review the score. Plus, in my experience there is a huge difference between how much you enjoy a score on its own and how well it fits with the film you are watching. I actually found the Spiderman score to be fairly difficult to enjoy on album presentation both in ordering of the tracks and how the music itself was mixed. However, once I went to see the film I found that it worked well and added to the experience of the movie like it should.
Still, if I was reviewing the album, the fact that I enjoyed it more once I saw the movie may be relevant to my scoring of the music itself but only insofar as I might suggest that certain listeners go watch the film before they ultimately judge the quality of the score. Still, this assumes that the film was worth watching, as it happens Spiderman is fairly agreed to be. I will concede, as you said, that you are not going to necessarily recognize the love theme or certain character's themes for what they are without watching the film, certainly not the more subtle uses of motifs for certain characters. I don't think that prevents you from judging the quality of the musical work as presented on CD though.
Well said my friend!
|
|
|
|
|
|
|
Although I still consider The Amazing Spiderman an average film and also think the same of the score (but still an improvement on years of minimalist non-theme/architectureless scores), I played the CD through last night and today have James Horner’s fanfare-like main theme echoing in my head – which is a good thing, that music from a contemporary film can still stick in my brain!
Anyway, one of my cats is a rather musical feline and he particularly loves flutes and especially scores from science fictiony-type films. During my playing the Spiderman CD last night, it got to that series of forte, shock piano chords in one of the latter tracks and he was laying asleep on the floor when it sounded and he nearly shot out of his skin and flew across the room. Quiet flutey sounds for him only!
|
|
|
|
|
|
If you listen to the opening cue from Horner's Spider-Man, it's pretty clear that it was temped with Elfman's Spider-Man, so where you think it sounds like Edward Scissorhands in places, the other places sound like he's scoring "around" Elfman's backbone from the first score's Main Title cue.
I never thought of Scissorhands, but I definitely thought it had an Elfman flavor to it. Having said that, it's all Horner. I can't dance about architecture well enough to say what ties it to the Elfman Spider-Man. The percussion, maybe? But there are more than enough Horner-isms to go around.
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
