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I think Shaun is honestly just trying to get a handle on what tracks people are diggin', so he might be able to hear what he could be missing out on.
He often does that (THEN he rips into me about my poor taste) 
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Appreciate the sentiment and I don’t disagree. I’m happy to share my opinion when asked even if I chafed at the initial request. I don’t think anyone here should have to defend why they like what they like.
That's true. No 'defense' should be necessary. But there wouldn't be much of a messageboard if we didn't have 'back and forths' about the value, or lack of value, of a given thing.
If it has value for him, that should be enough. Shaun made it sound like 'how can you possibly like this?' as he often does. But feel free to 'discuss' the score.
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Shaun, like Ruprecht from Dirty Rotten Scoundrels, is not a very social animal
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It’s a terrific score, beautifully recorded and with an assured sense of tonal instability and resolution. The orchestration is first rate and sounds very natural, like it was composed for a real group as opposed to conceived and samples and adapted for live orchestra.
This and Powell’s Hidden World have begun the year and a strong note for orchestral film scores.
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Jesus Christ, gentlemen, I was just asking for recommendations because I wanted to hear what tracks YOU liked! The tracks I’ve heard haven’t been enough for me, but I’m seeing the movie in a few hours and will likely have more of an informed opinion then.
P.S. I was making fun earlier for invoking Korngold. I have a hard time comparing anyone modern to someone like him.
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What do I do when faced with a “new” superhero score from the neo-romantic school?
Well, I either …
1. Pull out my handy-dandy Brian Tyler Checklist*, and if I can confirm at least four criteria on the list, then I give that score a pass. The five criteria being:
1. A prosaic theme
2. that hangs on harmonic pastiche,
3. slapped on top of conservative tempi
4. under suffocating layers of orchestration
5. which when it isn’t LOUD it’s LOUDER.
Wallfisch's Shazam passes my Brian Tyler Checklist.
* originally the John Debney Checklist
OR
2. I conduct a simple taste test. If none of the action tracks pique my appetite for more as the following do:
1. Goldsmith’s “First Kiss/Monster Storm” and “Final Showdown & Victory” from Supergirl.
2. Elfman’s “Attack of the Batwing” from Batman
3. Horner’s “The Flying Circus” from the Rocketeer
4. Walker’s “The Big Chase” from Batman: Mask of the Phantasm
5. Beltrami’s “Alley Fight” and “Fireproof” from Hellboy
6. Young’s film version of “More Sinister Than Popcorn” from Ghostrider
7. Powell’s “The Death of X” from X-Men 3 or “Hollywood Blvd.” from Hancock
8. Ottman’s “Mansion Attack/Don't You Remember?/Escape” from X2
… then I give that score a pass.
And Wallfisch's Shazam in action doesn't pique my appetite for more.
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What do I do when faced with a “new” superhero score from the neo-romantic school?
Well, I either …
1. Pull out my handy-dandy Brian Tyler Checklist*, and if I can confirm at least four criteria on the list, then I give that score a pass. The five criteria being:
1. A prosaic theme
2. that hangs on harmonic pastiche,
3. slapped on top of conservative tempi
4. under suffocating layers of orchestration
5. which when it isn’t LOUD it’s LOUDER.
Wallfisch's Shazam passes my Brian Tyler Checklist.
* originally the John Debney Checklist
OR
2. I conduct a simple taste test. If none of the action tracks pique my appetite for more as the following do:
1. Goldsmith’s “First Kiss/Monster Storm” and “Final Showdown & Victory” from Supergirl.
2. Elfman’s “Attack of the Batwing” from Batman
3. Horner’s “The Flying Circus” from the Rocketeer
4. Walker’s “The Big Chase” from Batman: Mask of the Phantasm
5. Beltrami’s “Alley Fight” and “Fireproof” from Hellboy
6. Young’s film version of “More Sinister Than Popcorn” from Ghostrider
7. Powell’s “The Death of X” from X-Men 3 or “Hollywood Blvd.” from Hancock
8. Ottman’s “Mansion Attack/Don't You Remember?/Escape” from X2
… then I give that score a pass.
And Wallfisch's Shazam in action doesn't pique my appetite for more.
I really like this. Keep adding to this each time there's a new superhero score (so, give it another week).
Just saw the movie. It was fine, but felt more like a TV movie (primarily due to the cast, but also because it plays it so safe, like a 2003 TV movie on a limited budget would). The score has some standout sections toward the end during the fight that seems to last a full half an hour for seemingly no reason at all.
One other thing I noticed while watching was that there were so many "THIS IS IT" moments for Billy to truly grasp the totality of his powers that it got a little redundant by the end.
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I've listened to this score quite a lot since it was released and while I won't disagree about the main theme being a little predictable in places as far as its harmonic progressions, one things Wallfisch does absolutely stunningly well on is providing development and variations of the theme. The opening track begins with the exposition and then goes on to expand/modify it much like the development section in a Beethoven symphony. Lots of harmonic shifts (modulations), sequencing (not computer, but the traditional compositional technique), and some truly extraordinary orchestral coloration. It's not as accessible as other current Hollywood scores if only because there's a terrific amount of craftsmanship here in the construction of the music.
To me, it's as confident a score as Williams' work from the last couple decades. I wish there were more opportunities for composers to write on this grand scale and put forth all of their inspiration and technique because it provides the listener with some truly exciting, enjoyable music.
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This is the best unabashedly superheroic theme since the Captain America March.
Check out Fernando Velázquez's SUPERLÓPEZ (2018).
No Shit- Magnificent Superhero Score!!! The numbskulls on this board who go to superhero movies 10 times in a week have no clue who Fernando Velazquez is.
Agreed 100%! This is a truly great superhero score by Velazquez. Varied, beautifully orchestrated and with a killer main theme. His best in a while cause he's been a bit hit or miss lately.
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like iost scores today musical wallpaper , well if you can call it music .
Not going to waste my money on this crap. It says a lot for film music nowadays , i fear their talents are not allowed to flourish or they dont have talent and are hired based purely on a hit film ... maybe i am being naive , but i really struggle with todays film music apart from the odd score ( williams . JNH , elfman , Beltrami )
It’s one thing to not like something but to call Wallfisch’s music “crap” is not only naive, it’s musically ignorant, not to mention disrespectful. Maybe try avoiding such scathing indictments unless you yourself are capable of writing more sophisticated orchestral music.
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Saw it very recently, and loved every second of the movie. The balance of comedy and dramatic stuff was right on the button for me.
But sorry folks. There's no addition to what I consider the greats of superhero music. What Williams, Elfman, Goldenthal and Walker do as already stated was compose 'in your face' 'shut your mouth' themes. This just doesn't happen any more.
As I said in the Elfman Replies thread, the other day I had an Elfman Batman day. I could not stop listening to Batman Returns. Three truly great themes in one score. Each one hummable as hell. I'm whistling them right now! Batman!, Penguin!, Catwoman! And I do remember that the opening to the film was incredible on first viewing in the cinema. One of the most impressive music to film sequences I've ever experienced, and I could not wait to get my own copy of Birth of the Penguin I was so blown away.
And despite hearing the Shazam score in the cinema, and those clips on here several times over, I'm simply not getting the earworm effect at all. Whereas the above animated Superman clip was the first time, just now, that I've ever heard it, and straight away there's a theme instantly hummable.
The Shazam score is indeed very pleasant, and beautifully orchestrated, and I especially liked the Lord of the Rings-ish choral work for the Seven Deadly Sins, but the theme still escapes me.
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