I think it looks fantastic. But I guess I am just one of the unwashed masses that this kind of film is aimed at.
jedizim, I meant no offense, and I'm sure you wash. To me, there's craftsmanship in every frame of this trailer, but no surprise, no passion, just rote design and stock characters intoning tiresome faux Shakespearean dialogue ("Nothing can stand in the face of destiny."). Two characters clinging to the plate of a giant tank tread should elicit more than an "oh" and a shrug, but these sorts of images are so indifferently presented and common these days – fake people on fake equipment with fake skies behind them – that I, personally, am completely bored by them.
That said, maybe you're not all dead inside as I seem to be. So enjoy!
I really liked what JXL did with Deadpool. It worked perfectly. I didn't really care for his Mad Max score. So I'm more or less neutral about this.
I wish Hollywood would extend its net further when casting composers for most of its projects. All we seem to be getting lately is RC, Giacchino, JXL, Brian Tyler and Tyler Bates. More diversity would be nice.
After doing such a great job with 10 Cloverfield Lane, I'd have hoped Bear would land some major studio films. Or hey, at least an MCU flick.
But the industry likes to play it safe and go with proven, if not predictable, composers most of the time.
I think it looks fantastic. But I guess I am just one of the unwashed masses that this kind of film is aimed at.
jedizim, I meant no offense, and I'm sure you wash. To me, there's craftsmanship in every frame of this trailer, but no surprise, no passion, just rote design and stock characters intoning tiresome faux Shakespearean dialogue ("Nothing can stand in the face of destiny."). Two characters clinging to the plate of a giant tank tread should elicit more than an "oh" and a shrug, but these sorts of images are so indifferently presented and common these days – fake people on fake equipment with fake skies behind them – that I, personally, am completely bored by them.
That said, maybe you're not all dead inside as I seem to be. So enjoy!
Quite the reverse is true. Actually you are more alive because you realized that you, we, have been so counted on to be snookered and played for fools by the pervasiveness of crappy CG work and having actors stand in front of green screens and place their feet up on boxes covered in green fabric, wherein it is later pasted in with a fake tank track created in a computer by programmers in India and London, and perhaps, only occasionally, LA. But the fakery of the Junkie score does indeed fit in perfectly with this brand of synthetic cheeze-whiz film making, we know after all that this whole production is not a whole lot more than ones and zero's.
There is some hope, I was watching the Blu Ray of Wrath of Khan with my youngest last week, and he said, "what year was this, these effects look pretty good", and "I see why you like it". I almost had to keep my head from exploding with joy, then I went on about how in 1982, these were skilled craftsman who worked with real models with little lights and careful paint work, and the I marveled on about the beauty of the nebula work, and how it was a real movie that makes you care about what is happening.
This film has failure written all over it, and it looks utterly terrible too.
For those reasons alone I wouldn't have been checking out the music regardless of who composed it anyway so count me as being indifferent to their composer of choice.
Tom got another shitty movie? Well if it puts food on the table... at least he can enjoy that food more than anybody will ever enjoy his score. In fact the two go hand in hand.... cooked up, chewed up, crapped out.
Unfortunately, we watched the latest Tomb Raider film this week, scored by Mr XL . I felt the dramatic scenes had really effective music, but the action music was just awful, relentless pounding. His Dark Tower score didn't really click with me but again, the dramatic underscoring was better than any of the action stuff.
I think Thor ( and a few others) has championed his more drama oriented scores, that may be where his real skills are.
I think Thor ( and a few others) has championed his more drama oriented scores, that may be where his real skills are.
Mostly, yes. Except for FURY ROAD, which is a perfect score for a pounding, heavy metal car chase of a movie. I also dig DEADPOOL. But the other favs are more lowkey -- like BRIMSTONE, DISTANCE BETWEEN DREAMS, BLACK MASS, bits and pieces of POINT BREAK.
It's easy to slag off a composer with oneliners and cheap dismissals, but it's another to provide reasoning behind one's dislike based on actual context and knowledge of a composer's work. I don't see much of that on this board and in this thread.
I try to give everyone a fair shake, but it does come down to personal taste in the end. I loved MAD MAX FURY ROAD and thought he delivered the perfect score to it. Pure Serendipity. I wanted him to blow me away with DARK TOWER, a movie series I was really ready to invest in, cos I LOVED the books. But he just wasn't up to it. That surfing film coulda/shoulda been awesome, but I thought he missed the trick. I love a bit of electronica and plenty of synth scores, but I find JXL pales in comparison to other composers or bands who dabble in that area. From the older 'film score dudes' like Moroder, Carpenter, TD, Fiedel to the newer lights like HZ, Martinez or Trapanese. He's just bang average to me and rarely rises above the film.
I think Thor ( and a few others) has championed his more drama oriented scores, that may be where his real skills are.
Mostly, yes. Except for FURY ROAD, which is a perfect score for a pounding, heavy metal car chase of a movie. I also dig DEADPOOL. But the other favs are more lowkey -- like BRIMSTONE, DISTANCE BETWEEN DREAMS, BLACK MASS, bits and pieces of POINT BREAK.
It's easy to slag off a composer with oneliners and cheap dismissals, but it's another to provide reasoning behind one's dislike based on actual context and knowledge of a composer's work. I don't see much of that on this board and in this thread.
I started this thread because I was dissapointed with him getting this assignment based on his other fantasy-or action scores. Tomb Raider, Deadpool, Point Break or Dark Tower are pretty awful for my taste (and yes, I HAVE seen all of them) but I will admit there was some really good dramatic scoring in Black Mass and Brimstone. I seem to remember he was credited under his real name (Tom Holkenborg) on the posters for these movies. So I probably should have phrased it another way.
I try to give everyone a fair shake, but it does come down to personal taste in the end. I loved MAD MAX FURY ROAD and thought he delivered the perfect score to it. Pure Serendipity. I wanted him to blow me away with DARK TOWER, a movie series I was really ready to invest in, cos I LOVED the books. But he just wasn't up to it. That surfing film coulda/shoulda been awesome, but I thought he missed the trick. I love a bit of electronica and plenty of synth scores, but I find JXL pales in comparison to other composers or bands who dabble in that area. From the older 'film score dudes' like Moroder, Carpenter, TD, Fiedel to the newer lights like HZ, Martinez or Trapanese. He's just bang average to me and rarely rises above the film.
I'd add Draft Punk to that list. Tron: Legacy is phenomenal score and shows what someone outside of the traditional film composer pool can bring to a film.
The problem for me is that the Junk has had several chances to really knock out a great score and has failed on every occasion, with the exception of MAD MAX FURY ROAD, which is increasingly looking like a fluke to be honest.
He writes incredibly bland and cheap synthesizer music (Deadpool) while his writing for orchestra is meandering and underdeveloped (Dark Tower). His music doesn't pull me in emotionally and that's why I cannot connect with him.
Unfortunately, we watched the latest Tomb Raider film this week, scored by Mr XL . I felt the dramatic scenes had really effective music, but the action music was just awful, relentless pounding. His Dark Tower score didn't really click with me but again, the dramatic underscoring was better than any of the action stuff.
I think Thor ( and a few others) has championed his more drama oriented scores, that may be where his real skills are.
This is true across the board. My favorite parts of the MCU scores are the quite/emotional cues, not the action music which are either droning or bombast noise with no musical direction. True of Disney's Star Wars films, Marvel and DC films, just about everything, I end up cutting out most of the"action music".
