Bear McCreary delivered one of the best surprises, and best scores, of 2016 with 10 CLOVERFIELD LANE. Film Music Reporter is, er, reporting that he is scoring (or has scored) the next in the series, GOD PARTICLE, which reportedly will be released as CLOVERFIELD STATION.
It's always nice to see Bear get a high profile gig like this, but especially exciting given his track record with the series.
The pretty terrible film doesn't give McCreary a lot to work with. There's a few highlights here and there but most of the score indulges in the usual suspense and horror textures that the composer is already very familiar with. The thematic material is also very lacking. There's certainly nothing here that compares with his work on 10 Cloverfield Lane.
That's a shame, jb1234. I guess that's also why they settled on a Netflix premiere, rather than the costlier theatrical release they'd originally intended.
Oh well. At his rate, Bear will have another three scores out by summer!
That's sad to hear, jb1234. Most likely, it'll still be a purchase for me, as Bear is one of my favorite composers working today. His score for the previous film was very well done.
It'll probably be better on disc, for sure. The sound mix wasn't always kind to the score. A couple of pretty choral moments and a few emotional cues amidst the horror/suspense. The end titles is a good suite, although I'm not sure if it's a combination of cues or something that was written, like 10 Cloverfield Lane was.
Don't get down on the score just yet guys, even just a little! No disrespect to jb1234, but he gave just one single person's opinion of the score. It may really impress other listeners.
Yeah, I'm just one dude. And as mentioned, the mix in the film isn't terribly high so I'm hoping there's more detail to be heard on disc. McCreary definitely worked very hard on this one, trying to provide dramatic heft to a film that is fatally flawed in virtually every aspect of its production. I'd say of his most recent scores, it reminds me the most of Happy Death Day.
There are some damn funny behind-the-scenes stories I hope emerge publicly about this film one day (they probably won't for political reasons).
Needless to say, a last-second Netflix dump is the last of its worries, and the fact that it was re-titled and the Cloverfield aspect was jammed in during post (a la 10 CLOVERFIELD LANE) is just one of several fascinating production gaffs the film stumbled through.
This is truly the most pathetic attempt at creating a franchise I can think of. Three film's that to my knowledge have literately nothing in common other than adding the word Cloverfield in the title and some forced triangulation.
"This is truly the most pathetic attempt at creating a TV show I can think of. A bunch of episodes that to my knowledge have literately nothing in common other than some smoking bloke in a suit talking in front of them."
"This is truly the most pathetic attempt at creating a TV show I can think of. A bunch of episodes that to my knowledge have literately nothing in common other than some smoking bloke in a suit talking in front of them."
"The first clip of my score to last night's surprise J.J. Abrams / Netflix film, THE CLOVERFIELD PARADOX. I am so fortunate to work with the greatest musicians in the world, Los Angeles's brilliant studio orchestra. They brought this score to life. I can't wait for you guys to hear more of this. The soundtrack album is available very soon! I'll be sharing more sneak peeks like this all week..."
This is truly the most pathetic attempt at creating a franchise I can think of. Three film's that to my knowledge have literately nothing in common other than adding the word Cloverfield in the title and some forced triangulation.
This is truly the most pathetic attempt at creating a franchise I can think of. Three film's that to my knowledge have literately nothing in common other than adding the word Cloverfield in the title and some forced triangulation.
That's the beauty of this particular franchse!
Exactly. I hear the name Cloverfield I know exactly what it means, even if the installment is vaguely related to other parts. While the score to Paradox isn't (yet...I haven't finished the show yet) on par with 10 Cloverfield, it has some dynamite moments -- the actual main title is very pretty and the music for their final attempt to start the accelerator is glorious. It's not all gloom and doom. And one aggressive action cue so far. I look forward to hearing the score on its own.
Matt Zoller Seitz of rogerebert.com didn't like the movie but had this to say about Bear's score:
"... and Bear McCreary's music, which is reminiscent of Elliot Goldenthal's majestically bummed out score for "Alien 3" and adds about $10 million to the film's budget by daring to sound big."
