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the movie's end titles credit CAPTAIN AMERICA "score" by Silvestri, not just his theme. So maybe more of it was used.
about the score for this sequel, in film sounds very functional, I expected a disaster after reading James Southall's review. But I couldnt hear Silvestri's theme.... just some touches here and there... or maybe I dont remember it too much (Silvestri's last ten years output has not real interest to me).
Silvestri's theme is used in the film very clearly during a moment during the first act [I won't say where because I don't want to spoil anything for anyone] but it is not to my ears used again and during the end credits we hear Jackman's new theme which I like.
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Posted: |
Apr 3, 2014 - 11:34 PM
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By: |
Mike West
(Member)
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the movie's end titles credit CAPTAIN AMERICA "score" by Silvestri, not just his theme. So maybe more of it was used.
about the score for this sequel, in film sounds very functional, I expected a disaster after reading James Southall's review. But I couldnt hear Silvestri's theme.... just some touches here and there... or maybe I dont remember it too much (Silvestri's last ten years output has not real interest to me).
Silvestri's theme is used in the film very clearly during a moment during the first act [I won't say where because I don't want to spoil anything for anyone] but it is not to my ears used again and during the end credits we hear Jackman's new theme which I like.
as I wrote earlier, in a dialogue scene introducing the finale, right when a catchy line from the trailers is spoken out, the B scene is subtly referenced to.
also in that first act, this has been mentioned before, it is basically the B-theme, which is fine, like it
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Posted: |
Apr 4, 2014 - 1:20 PM
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By: |
bagby
(Member)
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Saw this last night on a double feature with 'The First Avenger.'
Extremely well done political and action thriller with lots of inside stuff for those familiar with the comics. It owes a huge debt to the entire Jason Bourne series and films made therefrom (I about half expected somebody to mention Treadstone). Fight scenes are very Bourne-ish...in fact, Jason Bourne is just about a superhero anyway.
Silvestri's score works marvelously (pun intended) in the first film and is also quite listenable on its own. In fact, there are several cues that are missing from the album I would love to have. I hadn't realized how much material he wrote for that film that made it into 'The Avengers,' which made sense since a lot of it was Tesseract motif-stuff. Nice continuity, plus using the Cap theme(s), of course.
I heard the Silvestri theme referenced only once in this film, though it may be disguised quite a bit.
Jackman's score for 'Winter Soldier' works very, very well with the film. It's akin to the John Powell work on the Bourne movies, imo. Though there are some big and extended orchestral cues the Powell doesn't have.
The best parts of Jackman's score, for me, aren't on the album, or at least the iTunes release. That's disappointing. It's a better score than it's presented on the album. One of those cases where a different selection would make for better listening experience, to my ears at least.
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Posted: |
Apr 4, 2014 - 8:01 PM
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David-R.
(Member)
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I must agree with the consensus I'm reading: the score works very, very well in the film. The theme (or 'sound') for the Winter Soldier is fitting for his character, and the end credits are fantastic... if only they were on the album.
Jackman's score for 'Winter Soldier' works very, very well with the film. It's akin to the John Powell work on the Bourne movies, imo. Though there are some big and extended orchestral cues the Powell doesn't have.
The best parts of Jackman's score, for me, aren't on the album, or at least the iTunes release. That's disappointing. It's a better score than it's presented on the album. One of those cases where a different selection would make for better listening experience, to my ears at least.
That is what I'm hearing, unfortunately. I would much rather have end credits, or just a theme track, than the 2 songs tacked onto the end. But oh well.
I just might pick this up from Intrada. I'll have to give the samples a listen.
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x 2
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Jackman's score in the film is the much needed context it deserves to be appreciated. As I'd suspected, the "Winter Soldier" tune is especially appropriate. It sounds like the theme for a mass murderer - though not nearly as melodic, it's as damning to a character's fate as how Goldsmith designed the score for The Omen to be (once it's played, that meant somebody's ass!) - and fits good ol' B to a T. The end title is a grand track, indeed. The rest is more or less standard fare, but not really the kind of score that could be replaced by just any Remote Control effort, despite certain inescapable similarities.
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So another example of the idiots at FSM message boards who will smash a score to death and a composer before hearing it and complaining about the sound which not being orchestral must be labeled "junk" to their ears.
If you don't like it then more power to you but at least hear the actual music to have an intelligent conversation about it.
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Posted: |
Apr 6, 2014 - 2:27 AM
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By: |
Mike West
(Member)
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I must agree with the consensus I'm reading: the score works very, very well in the film. The theme (or 'sound') for the Winter Soldier is fitting for his character, and the end credits are fantastic... if only they were on the album.
Jackman's score for 'Winter Soldier' works very, very well with the film. It's akin to the John Powell work on the Bourne movies, imo. Though there are some big and extended orchestral cues the Powell doesn't have.
The best parts of Jackman's score, for me, aren't on the album, or at least the iTunes release. That's disappointing. It's a better score than it's presented on the album. One of those cases where a different selection would make for better listening experience, to my ears at least.
That is what I'm hearing, unfortunately. I would much rather have end credits, or just a theme track, than the 2 songs tacked onto the end. But oh well.
I just might pick this up from Intrada. I'll have to give the samples a listen.
Most of the end title is tracked, "taking a stand" ,
"Project insight" , "the smithsonian", music from the finale with that motif for Falcon (don't spotted yet if that is on the album but I think so)
not on the album: the arrangement of the main theme for cap and nick fury, in the beginning also associated with shield
which is great with woodwind scales and fanfaric full renditions (though not as extensive as silvestri's march) - this is just a minute and something I think
Instead Jackman decided to close the album with that more electronic/popular music approach suite, which is not appearing in the movie
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Saw the movie yesterday.
The score is largely unobtrusive. The Winter Soldier which stands out so starkly (er, sorry) on the album doesn't really register in the movie. Too much noise over it I guess. I had further evidence for this because when it plays under the end end end credits scene (it's a Marvel movie, right?) it's much more obvious than it was in the film. And the kid (<10) next to me asked his dad "What's with the freaky music?"
Whatever it's effect good or bad in the film, I don't care for it on the album.
But wow I love The Smithsonian. I wish there had been more like this in the film, mixed up with the more modern sounds.
Interesting that they open the film with Silvestri's score. (It's not just The Theme. It's an actual track from the first film, although I don't recall which it is now.) They haven't done anything like that for any of the other heroes that have switched composers.
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. It owes a huge debt to the entire Jason Bourne series and films made therefrom (I about half expected somebody to mention Treadstone)..
dont tell me its a "shaky camera" film????!!
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The editing can be pretty quick. The only time I noticed it in a bad way was at the very beginning. I was thinking “This is as fast as I can keep up with.” I didn’t notice this as the film went on. No shaky cam.
The funny thing is I got the CD to Tomorrow Never Dies some weeks before the film. The opening sequence on the ship in Cap 2 is exactly what I pictured listening to White Knight. (I don’t know where I got it into my head that TND opened on a ship.) It was wild. Seventeen years later.
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Unfortunately I agree.
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