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Posted: |
Mar 27, 2017 - 2:46 AM
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By: |
hyperdanny
(Member)
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Saw the movie last night....yes, it is what it is, sort of an Alien-Gravity hybrid, but hey, ANY movie with astronauts closed in a ship with an alien is going to recall , well "Alien", that movie is so iconic that it's impossible to ignore.
That said, I have to say that within its limits the movie works and it was a fun night at the movies.
It is very well made and shot, well acted (too bad that Jake Gyllenhall's characted isn't developed more), the alien is interesting, and surprisingly it has more than its share of jumps&scares&grossouts.
I liked how the twist ending isn't an out of the blue trick on the audience, since the preceding sequences actually hint at what's "really" happening.
The music: I liked the overall sound (orchestra-based, with very present but well integrated electronics, and percussions are at least used meaningfully) and it works very well in the movie (particularly the last few minutes I found extremely effective) but I am not sure it's fit for an isolated listening experience, it's not thematically through-composed and there's no real development.
I wouldn't go as far as to call it sound design, as some have said..for instance I think it's far superior to The Arrival.
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Dude, spoilers (about the Reynolds part). I mean, NO ONE cares about this movie, but still...
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do you think I spoiled it?
I don't think so..I didn't say at all what the ending is, I was extremely vague about Ryan Reynolds...anyway, I would gladly edit..if you didn't quote me.
Fixed it!
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Posted: |
Mar 27, 2017 - 7:35 AM
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By: |
hyperdanny
(Member)
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edited the RR part.
Anyway: the score is (don't know for how long) on youtube for listening, and I mostly confirm my impressions from the movie.
The thematic paucity (to put it mildly) really impedes a listening experience "from beginning to end", the attention just wanders, mine at least did, a lot.
That said, I like the soundworld Ekstrand concocted: the marriage between orchestra, chorus and electronics is refined, leagues ahead of the usual crude RC crap.
I would go as far as to say that a couple of the more "epic" cues plus the last 8 minutes of the score (including the cue for the ending) are worth the outlay for the cd (thankfully modest, nowadays) .
The movie is doing rather well here, it's second at the B.O. after Beauty and the Beast.
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I saw this movie last night - arghhh been here before- demanded my money back!
A V O I D - A T - A L L - C O S T S!
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I primarily know Jon from his previous work with Daniel Espinosa (the director of LIFE), but I'm glad that -- for once -- the director brought the longtime composer with him to his big Hollywood breakthrough. That's rare these days.
He didn't. He used Ramin Djawadi for Safe House. But I'm pretty sure that was a studio decision, and not the director's.
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