 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Sep 28, 2010 - 3:45 PM
|
|
|
|
By: |
KevinSmith
(Member)
|
Ennio Morricone's The Mission - After the first 10 minutes which are very beautiful , the score simply loses steam and relies on repetitive performances of the theme for the Waterfalls. The dissonant parts with the drums, Sakuhatchi and others can be disenchanting and by the end, you are waiting for the album to be done (the worst feeling that a score can give).
John Debney`s Cutthroat Island - Apart from a few minutes here and there, this score owes nothing to the Golden Age of swashbuckling scores, and more to the writings of Messers Silvestri, Arnold, and Horner. You would certainly not dear something like Carriage Chase in the Golden Age, and most of the score would comfortably fit in any 1990s action score.
George Fenton`s Planet Earth - I think that the problem I have with this score at least on album, is that the canvas is too big for any cohesive nature to occur over the 2 hour score. The opening theme is rarely interwoven with any of the episodic underscores, giving each episode a somewhat detracted feeling from everything else.
James Newton Howard`s Signs - This score is nothing special with the underscore under the surface for 95% of the movie (with little thematic development), then the last 5% doesn`t really make up for the fact that you`ve been waiting long enough (similar to Doyle`s Henry V in that respect, but Henry V does the payoff much better).
Basil Poledouris`s Flesh + Blood - Simply put there is nothing in this score that Conan The Barbarian doesn`t do better. The themes are much more memorable in Conan than in Flesh + Blood, the action music is bigger and arguably more raw in emotion. The only thing that Flesh has is the impressive performance by the LSO.
William Walton`s Battle of Britain - Outside of a wonderful opening title and the cue Battle in the Air, there is nothing much to write about as it is difficult to imagine this score with its classically written tendencies and orchestrations giving it the feel of Walton`s Crown Imperial in place of Ron Goodwin`s superior and more modern score (with kick ass themes).
Gabriel Yared`s Troy - I think this is the time for reflection after the rejection. This music would have not made a good film score, its accents and orchestrations DO sound somewhat like a 1950s Hercules movie with its links in the pasts and the classics. The action parts make you feel like you`re been hit in the face with a 10 pound sledgehammer: FIGHT! WOO! DEATH! BAD!
Hans Zimmer`s Pirates of the Caribbean: At World`s End - People claim it as a much better entry than the first two, but it`s not that good. Asian accents, Morricone features, electric guitar additions, Irish jigs, and RC action music. The themes in this score are some of the simplest chord progressions ever heard. Did anyone tell the scoring crew that a score should be cohesive?
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Williams can write an excellent theme, but everything else sounds the same from score to score.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Sep 28, 2010 - 5:28 PM
|
|
|
|
By: |
DeputyRiley
(Member)
|
I don't think How to Train Your Dragon is nearly as good as everyone says it is -- I can think of ten Powell scores I'd rather hear than this one (although it is very good).
Just because a score is extremely modern in its style (or features an abundance of cool electronics) does not automatically make it a bad score.
Red Heat (James Horner) is a great, great score.
The score for Predator 2 is better than the score for Predator and the score for Die Hard 2 is better than the score for Die Hard.
The Hurt Locker and Michael Clayton very much deserved their Academy Award nominations.
Like Untamed Aggression noted, John Williams can write a great theme, but otherwise...eh.
Eraser (Alan Silvestri) bores me.
Marco Beltrami has the best grasp of how to use electronics than any composer in history.
People don't talk about Jeff Toyne enough.
Hans Zimmer is a genius.
The only John Debney score I've ever heard that I liked was The Relic.
I love all of Steve Jablonsky's horror scores (Amityville Horror, Texas Chainsaw Massacre, Texas Chainsaw Massacre: The Beginning, A Nightmare on Elm Street, The Hitcher, Friday the 13th (2009))
I don't care if James Horner repeats himself. It just doesn't matter to me. The guy's incredible.
The Lazarus Project is Brian Tyler's masterpiece.
I don't very much care for John Powell's family/animation film scores (instead give me any Bourne score or The Green Zone or Paycheck!).
Edward Shearmur's Cruel Intentions score is simply wonderful.
Charlie Clouser's Saw scores indicate a genius at work.
Gregson-Williams' score for X-Men Origins: Wolverine is better than any of the three original X-Men movie scores.
The Running Man is Faltermeyer's best work.
Although The Omen and Damien: Omen II are very good, the only one I'm ever interested in listening to with any frequency is The Final Conflict.
People sometimes talk about Jerry Goldsmith's 80's electronics as sounding "dated" as if that's a bad thing.
Agree with Mr. DeSentis: Ottman is very good.
I'll take Dracula 2000 (Beltrami) over Bram Stoker's Dracula (Kilar) any old day of the week and twice on Sunday!
Carter Burwell's finest score is Blair Witch 2: Book of Shadows.
-----
I feel like Elaine on Seinfeld when she wore her Baltimore Orioles cap in the Yankees' owners box and got thrown out...
|
|
|
|
|
|
|
I feel increasingly that I have nothing in common with film music fans. The people with whom I used to see eye-to-eye in the glory days of Goldsmith, Barry, Williams, Bernstein, etc. I now hear praising Ottman, Beltrami, Giacchino, Tyler, etc. and I think to myself "What are they talking about?"
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
