|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Now it's just another pulsing suspense variation of the BOURNE films. I would love to hear Doyle's take on contemporary Bourne-type thriller/action music! Then this score is for you!
|
|
|
|
|
|
|
|
|
|
Posted: |
Jan 19, 2014 - 12:14 PM
|
|
|
By: |
Hurdy Gurdy
(Member)
|
I know the R/C charges got thrown at Doyle for his scores to Thor and Rise/Planet/Apes, but I found them to be very enjoyable, of themselves and in comparison to the many other programmed styled scores out there. Yes, they were stripped down/streamlined Doyle, but his voice could still be heard, if you listened intently enough. I heard the two pieces at the Doyle concert in December and they sounded pretty good (the last cue reminded me of 90's Goldsmith), so I will treat this score with an open mind. My decision to buy the CD will depend on what I hear while watching the film, which is about 90% the way I treat new scores now. The other 10% is reserved for new stuff by John Williams, James Horner and Danny Elfman (and a few others, if they bag a new score), which I will buy cos I trust them.
|
|
|
|
|
Couldn´t resist and downloaded it from iTunes. Although it is clearly molded from the current sound imperative, Doyle again manages to make it his own. Have to listen to it again - but my initial disappointment (based on those dreaded and awful sounding amazon samples) is gone. This is interesting music. And Doyle remains a fantastic composer, able to survive in this climate.
|
|
|
|
|
|
|
|
|
|
|
I´m really loving this score. It is juggling the contemporary elements with so much restraint, beautifully creating suspense. And still Doyle does not lose his gift for melodies. Listen to a cue like "The Activation" - so tender and subtle, it would have been cranked up to the max by other composers. Doyle steps back, does not hit the viewer/listener over the head. Yep, I´m a fan.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Received the score thursday, saw the movie this afternoon. It's a decent action-thriller, well made and well acted. The score...? I'm on my fifth listen and I think it's a huge, huge dissapointment apart from a powerful Russian hymn. I ended up liking 'Thor' and 'Rise Of the Planet of the Apes' because there were still enough Doyle trademarks and his style managed to get through. But this is some of the most generic scoring I've heard in a long while...even for RC standards. And I'm saying this as a huge Doyle fan. Supposedly, the music is performed by the London Symphony but you couldn't tell. I don't mind electronics but it's all so boring. I can only hope we get the 'old' Doyle back for Cinderella but this is without a doubt (for me anyway) one of the biggest dissapointments of 2014. I'm gonna give it another go tomorrow because I desperately wanna like it but chances are slim...
|
|
|
|
|
Saw JACK RYAN today. It's a contemporary action film. Everyone knows what that means. If you want specifics, it has a bit more soul than last year's similarly-Russian-set A GOOD DAY TO DIE HARD, and fewer explosions, but less (attempted) wit. Not as much style as the last MISSION; IMPOSSIBLE--not as much bone-crunching action as the last BOURNE. Doesn't really distinguish itself at all. And neither does the score. Take the scores from RYAN, and the last DIE HARD, MISSION:IMPOSSIBLE, and BOURNE films, categorize all the cues by type (establishing shot, chase scene, tender interlude, suspense scene, fight scene, etc.), then select a cue at random for the necessary scene. Would any of these films suffer greatly? I think not.
|
|
|
|
|
|
|
|
|
|
|
I liked Pine in the first Star Trek reboot but he seems to have had a charisma bypass since then. I've noticed this as well. He's great in Star Trek (2009), but he's been curiously terrible in everything else since.
|
|
|
|
|
|
|
|
|
|