Does it have anything like a main theme or is it all just noise? or more sound design-y? Generic score done well can be miles better than failed attempt at something more distinct
The score have orchestra and choir (african children, BTW) and some electronics.
Does it have anything like a main theme or is it all just noise? or more sound design-y? Generic score done well can be miles better than failed attempt at something more distinct
There is something vaguely resembling a theme but there's no thematic development or something to hold on to. Like I said, it's not bad, just really bland IMO.
There is something vaguely resembling a theme but there's no thematic development or something to hold on to. Like I said, it's not bad, just really bland IMO.
At least there is three themes: one for Johnson's character, other for the monsters and i call 'George/Davis' theme
But i'm goe for the old school.. Ifukube, Satoh, etc.
Well, I'd credit Masamichi Amano (Sagisu's "orchestrator" whose own scores sound just like the orchestral stuff in these, sans the electronics and nonsensical english-language choirs) for why those above pieces are so good, though to Sagisu's credit, the melodies are probably all his and the idea of mixing operatic symphonic, choral, and hard rock/synth elements with as much panache as he does is an original and clever way to scoring - These two scores, BERSERK and the most recent EVANGELION scores are really brilliant and a total blast, though the Amano contribution is key to why they're so amazing in my opinion.
But yea, I hear you Casey... I too wish "blood-and-thunder monster music" still sounded like this:
Or this:
Or this thundering unreleased gem of monster-music bedlam:
Bless you for your shares of underrated scores, particularly Lalo Schifrin's Abominable.
Yavar
It's great, isn't it Yavar? He just nailed that thunderous, stomping monster movie sound I love!
It's a shame that the film, directed by Schifrin's own son, is such a turkey unworthy of such ambitious scoring... The music really stands out like a sore thumb amidst the otherwise poor production values.
Anyway... Right... RAMPAGE! I thought Lockington's JOURNEY scores were a ton of fun and really well-executed, but have been disappointed by everything subsequent to that. Sounds like this won't really change that trajectory much.
It's great, isn't it Yavar? He just nailed that thunderous, stomping monster movie sound I love!
I take it you're also a fan of Michael Giacchino's Roar! Overture from Cloverfield? In my opinion, it's the best thing he's ever done outside of his Medal of Honor game scores or the sum total of his magnum opus: LOST. (I still love a lot of his film work of course, particularly John Carter, Ratatouille, Inside Out... but not quite on this level.)
I do think that Bear McCreary did a worthy follow up (though obviously very different, due to the film being very different) for 10 Cloverfield Lane...
I take it you're also a fan of Michael Giacchino's Roar! Overture from Cloverfield?
Yes, I'd definitely say it's one of his finer works - Inspired and creative, with enough of an orchestrational nod to the Ifukube-type Godzilla sound. I'd rank JOHN CARTER higher in terms of overall craft (I don't think he'll ever write a more convincingly genuine "romantic space opera" score than that one - just listen to that second half of that end title suite) but it's a very strong effort probably made all the better by its brevity and focus.
While we're talking about big stomping monster movie music, I'd be highly remiss not to give a shout out to Michiru Oshima's amazing trio of GODZILLA scores from the early 2000's. Each of them is filled with incredibly exhilarating militaristic music, battle motifs and character themes, and all three are anchored by her Godzilla march - heard in three iterations the first clip below - big, driving, inexorable-sounding music!
And I mean... Just listen to this cue below... This woman writes music like this on what seems like a WEEKLY basis, by the way. She's just insanely prolific - and not a ghostwriter or even orchestrator in sight!
I take it you're also a fan of Michael Giacchino's Roar! Overture from Cloverfield?
Yes, I'd definitely say it's one of his finer works - Inspired and creative, with enough of an orchestrational nod to the Ifukube-type Godzilla sound. I'd rank JOHN CARTER higher in terms of overall craft (I don't think he'll ever write a more convincingly genuine "romantic space opera" score than that one - just listen to that second half of that end title suite) but it's a very strong effort probably made all the better by its brevity and focus.
While we're talking about big stomping monster movie music, I'd be highly remiss not to give a shout out to Michiru Oshima's amazing trio of GODZILLA scores from the early 2000's. Each of them is filled with incredibly exhilarating militaristic music, battle motifs and character themes, and all three are anchored by her Godzilla march - heard in three iterations the first clip below - big, driving, inexorable-sounding music!
And I mean... Just listen to this cue below... This woman writes music like this on what seems like a WEEKLY basis, by the way. She's just insanely prolific - and not a ghostwriter or even orchestrator in sight!
The works by Oshima in the Millennium saga are the best.