 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
No, I didn't know. I have so little interest I couldn't even be bothered to look it up. The use of the same title implied a new "take", or remake.
Still, Barry aside, it doesn't change my thoughts on the score. In fact, bringing Barry back into the fold, time is better spent listening to Barry's superior score to the unrelated film.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I've heard it on Sirius Classics on Film. It's heavily reliant on the same drum dirge, but enjoyable for the most part.
|
|
|
|
|
|
I've heard it on Sirius Classics on Film. It's heavily reliant on the same drum dirge, but enjoyable for the most part.
That theme sounds like the love child of Glory and The Monster Mash.
-
|
|
|
|
|
|
Very interested in this, I'll make sure to pick this up.
|
|
|
|
|
|
|
|
|
|
Nice review, Jon. I only wish that one word of what you wrote was in evidence in the score as heard in the film. If this is what film music is today, leave me out. It does NOTHING to support what's actually going on in the story, which is what film music should do and is, in fact, exactly what John Barry's score did in the earlier film. What you don't need in film music is an "intellectual" composer, but I find that a load of hooey anyway. Yes, old Max talks a good game, but I only care about the music itself and a) whether it works in the film itself, and b) if it gets to me on some emotional level. Nothing this guy writes does any of that for me. Right now, he's a flavor of the month with classical people - that will go away just as it has gone away with many other flavors of the month.
As to the film, I lasted about eighty minutes then shut it off. I found it a complete bore, boringly and typically directed, and the script is not compelling. I don't think the earlier film that Barry scored is all that either, but this thing is just so by the numbers and typical of today's historical dramas or whatever they call them. I like the two actresses very much, but here they don't have a chance. No one has a chance. And I love that he goes on about having a 110 piece orchestra and huge choir - I mean, you think Barry had that? He didn't. And do you think you can tell it's 110 pieces in the film? You cannot. For me, both film and music are a bust. And I predict it will be a bust at the box-office but I predict that the Academy, who loves crap like this, will manage to nominate it in a few categories, as it fits perfectly into what Oscar-bait filmmaking is all about.
|
|
|
|
|
|
|
I've heard it on Sirius Classics on Film. It's heavily reliant on the same drum dirge, but enjoyable for the most part.
Hey another Sirius listener!
|
|
|
|
|
|
I have listened to dozens of Deutsche Grammophon records that sound fine on Spotify. Not audiophile transparent without artifacts, but fine. This is not a "streaming music" problem, this is a problem with a lousy master that contains distortion.
I have a literal wall of CDs already. I really don't have a way to store any more.
You could sell the ones you never listen to.
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Dec 20, 2018 - 7:47 AM
|
|
|
|
By: |
GoblinScore
(Member)
|
Nice review, Jon. I only wish that one word of what you wrote was in evidence in the score as heard in the film. If this is what film music is today, leave me out. It does NOTHING to support what's actually going on in the story, which is what film music should do and is, in fact, exactly what John Barry's score did in the earlier film. What you don't need in film music is an "intellectual" composer, but I find that a load of hooey anyway. Yes, old Max talks a good game, but I only care about the music itself and a) whether it works in the film itself, and b) if it gets to me on some emotional level. Nothing this guy writes does any of that for me. Right now, he's a flavor of the month with classical people - that will go away just as it has gone away with many other flavors of the month.
As to the film, I lasted about eighty minutes then shut it off. I found it a complete bore, boringly and typically directed, and the script is not compelling. I don't think the earlier film that Barry scored is all that either, but this thing is just so by the numbers and typical of today's historical dramas or whatever they call them. I like the two actresses very much, but here they don't have a chance. No one has a chance. And I love that he goes on about having a 110 piece orchestra and huge choir - I mean, you think Barry had that? He didn't. And do you think you can tell it's 110 pieces in the film? You cannot. For me, both film and music are a bust. And I predict it will be a bust at the box-office but I predict that the Academy, who loves crap like this, will manage to nominate it in a few categories, as it fits perfectly into what Oscar-bait filmmaking is all about.
Thanks for a well written counterpoint (har har) Bruce. It's nice to read a view that contradicts what I think might be a bit of desperation on peoples parts to shoehorn new work into 'the good old days'.
NO Disrespect meant to anyone here, whatsoever - I like some Richter fine, and get excited when everyone starts trumpeting great things. .only to find a letdown, or that's nice but sounds like everything else.
Aquaman, for a 180 example to Mary - I'm afraid to try it, these guys toss around some pretty heavy influences....and it probably sounds like every other anonymous thing now. Anyway, good discussion, thanks.
|
|
|
|
|
|
|
|
|
|
|
This is on my top 10 of the year!
Mine too. Favorite Richter score so far. Very nice flow to this album.
|
|
|
|
|
|
I've missed out on Richter. Just discovered him via the Mary Queen Of Scots album. Wonderful score and I'm a big fan of Barry's 1971 score.
|
|
|
|
|
|
Must agree with 'haineshisway'
Here we have a new film (which I haven't seen yet) and a perfect opportunity for a composer to write a score which complements and illustrates the images on the screen. It is set in a period where plenty of music has survived to aid a composer. Barry's score in 1971 did not stock rigidly to Tudor style but the overall effect gave it a period feel. I have little confidence in film composers nowadays and, to me, this new score is yet another example of music 'glued on' which bears little or no resemblance to either the period or the story.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
