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Posted: |
Aug 4, 2014 - 10:41 AM
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By: |
cwtlead
(Member)
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Just saw this flick last night - it's the movie adaptation for the Stephenie Meyer (of Twilight fame) novel of same name. I was surprised at the quality of Antonio Pinto's score given the content, a somewhat lackluster sci-fi/romance story. Mostly an electronic-based, synth-laden work, The Host did contain some rather beautiful thematic moments and swoon-inducing passages. Has anyone else heard this score? Does it hold up on independent listens?
Christian, as always, you've got great taste. I hope all is well my friend. As for this score I imported the cd, and think it worth the $25. The interesting thing to note is... There are 27 tracks (26 score tracks, last one is a song, which is very good!!!) and I only kept 11 tracks (maybe 22 minutes). But those eleven tracks are solid; those were what you called "beautiful thematic moments and swoon-inducing passages." I play my scores on random, and I don't second guess which cue is playing when 'The Host' shuffles through.
Is it top 25 material - no freaking way. However, it is refreshing to hear something a little different from time to time (simple melody rolled in and out electronic/synth undertones). There is no grand finally (i.e. the last few score tracks suck, but the song makes up lost ground). The best cues are the romantic parts, because they're so artless (I'm 90% sure I'm using that word correctly ;-).
You're the better score reviewer/writer. So I look forward to your review. I say nab it.
Craig.
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Posted: |
Aug 5, 2014 - 10:13 AM
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By: |
DS
(Member)
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I've never cared for how former Media Ventures and current Remote Control composers orchestrate their music**, which seems so watered down as to be the antithesis of expressing high emotion, and that seemed to be the template for the "In Time" score (just as I hear it is for Christophe Beck's "Edge of Tomorrow" score). But Andrew Niccol's films tend to be very emotional stories with big, highly cinematic moments (like Timberlake running to his mother in "In Time," and having that foreshadow the final scene) and in my opinion that calls for something much grander than the MV/RC-sounding score I heard.
"The Host," on the other hand, didn't sound like MV/RC, but it seemed tepid for such emotional subject matter.
I'm just curious as to why Niccol stopped working with Michael Nyman.
**except for early Zimmer, when he was working with Stanley Myers or Shirley Walker. John Powell as well, and I'm sure there are a few other exceptions.
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