I've enjoyed all the M:I scores so far, but honestly the ones I wind up listening to the most are the two composed by Giacchino. There is such a wonderful energy, so many catchy melodic hooks and such colorful instrumentation, especially in "Ghost Protocal", similar to his music for "Alias". Nothing wong with Elfman's, although I only can listen to the first 10 minutes and the last 15 minutes, the middle part just drags. Zimmer's is a great kick-ass listen, a real punch of testosterone and Kraemer introduced some wonderful new themes and variations.
I really dislike the two scores from Giacchino. I felt like those scores were the opposite of the word "energy."
I've enjoyed all the M:I scores so far, but honestly the ones I wind up listening to the most are the two composed by Giacchino. There is such a wonderful energy, so many catchy melodic hooks and such colorful instrumentation, especially in "Ghost Protocal", similar to his music for "Alias". Nothing wong with Elfman's, although I only can listen to the first 10 minutes and the last 15 minutes, the middle part just drags. Zimmer's is a great kick-ass listen, a real punch of testosterone and Kraemer introduced some wonderful new themes and variations.
I really dislike the two scores from Giacchino. I felt like those scores were the opposite of the word "energy."
This cue would like to have a word (this is the most fun cue of Giacchino's work in the series, though I also like the "Hunting For Jules" cue);
I've enjoyed all the M:I scores so far, but honestly the ones I wind up listening to the most are the two composed by Giacchino. There is such a wonderful energy, so many catchy melodic hooks and such colorful instrumentation, especially in "Ghost Protocal", similar to his music for "Alias". Nothing wong with Elfman's, although I only can listen to the first 10 minutes and the last 15 minutes, the middle part just drags. Zimmer's is a great kick-ass listen, a real punch of testosterone and Kraemer introduced some wonderful new themes and variations.
I really dislike the two scores from Giacchino. I felt like those scores were the opposite of the word "energy."
This cue would like to have a word (this is the most fun cue of Giacchino's work in the series, though I also like the "Hunting For Jules" cue);
Thanks for posting Shaun.. May have to revisit that one! Recording also sounds better then most of MG’s scores too...
By god, this film is fantastic! I was nailed to my seat the entire time.
Funny thing is, it's nothing special. Unlike Get Out or Thor Ragnarok (two random other films I thoroughly enjoyed) Fallout has nothing to offer we haven't seen (or rather: experienced) before. But as a whole it is so very well made, that it works. Tremendously well.
Same for Balfe's score. There a elements we know from perhaps Zimmer's Dark Knight or Horner's Clear and present danger, it's nothing new or even special. But it is done masterfully.
Sometimes the craft is more important than the art. Especially in film making. Even in film scoring.
By god, this film is fantastic! I was nailed to my seat the entire time.
Funny thing is, it's nothing special. Unlike Get Out or Thor Ragnarok (two random other films I thoroughly enjoyed) Fallout has nothing to offer we haven't seen (or rather: experienced) before. But as a whole it is so very well made, that it works. Tremendously well.
Same for Balfe's score. There a elements we know from perhaps Zimmer's Dark Knight or Horner's Clear and present danger, it's nothing new or even special. But it is done masterfully.
Sometimes the craft is more important than the art. Especially in film making. Even in film scoring.
Explain the Clear And Present Danger reference....
Explain the Clear And Present Danger reference....
There's a piano motive throughout the score reminiscent of it. It was a motive Horner often used, mostly performed on steel drums, sometimes piano (as in Clear and present danger).
Explain the Clear And Present Danger reference....
There's a piano motive throughout the score reminiscent of it. It was a motive Horner often used, mostly performed on steel drums, sometimes piano (as in Clear and present danger).
Don’t think I remember hearing anything like that, but I wish there was more piano and less “300-piece” “orchestra.” Point me there, chiefy.
Explain the Clear And Present Danger reference....
There's a piano motive throughout the score reminiscent of it. It was a motive Horner often used, mostly performed on steel drums, sometimes piano (as in Clear and present danger).
Don’t think I remember hearing anything like that, but I wish there was more piano and less “300-piece” “orchestra.” Point me there, chiefy.
I appreciated this score much more in the film than on album, but I think part of that is that there is SO MUCH MUSIC on the album. This is one where a shorter album would have made for a better listening experience, I feel.
I thought it was good, but not as good as "Rogue Nation" - which I am a huge fan of and is still the series highlight for me.
There are a lot of plus: exploring Ethan's ethics and consequences of his actions, a new tone, some great & clean action (like the Paris section), great bits where the IMF team is outsmarting its opponent in the best TV series fashion, and a wonderful short moving scene with Ving Rhames. Things that didn't make it as good as RN in my opinion, is the general plotting that is not as tight. The movie took a "series continuation/summary movie " approach, but while it raised some emotional connection, there is a sense of deja-vu: the threat is basically more syndicate mixed with the nuclear threat of "Ghost Protocol", same bad guy motivation(s), previous characters again in the mix but not as fascinating or new as in the previous entry.
It's somehow not as vibrant, more spectacle and less tension and credibility - I found they overdid it in the climax in terms of believably, much like the train sequence in the original. But it's still a good entry (yes, better than the latest Bond, Bourne or many action movies), and may be I was overexpecting things.
As for the score, I had lower expectations and it worked surprisingly well in context, it will not be everyone's cup of tea, but fully meets the idea of doing something different (the changing of DP also shows). Sure, some of the action scoring isn't very subtle (or as Jonathan Broxton wrote, is just 'generically appropriate'), but lots of parts seemed to be done with care and purpose, not something I would say of something like "Terminator Salvation". I thought the score to be well mixed and effective in places, the piano stuff in particular. Don't know if I will like it outside of the movie though (especially in a 90+ minutes version).
The coldness of the emotional stuff seemed deliberate, and it didn't grab me - there is a discussion between Ilsa and Ethan that reminded me how emotional and effective a similar bit in "Rogue Nation" was (where Ilsa asked Ethan to leave with her, to the sound of Turandot).
LORNE BALFE, composer of the original score to MISSION: IMPOSSIBLE - FALLOUT, talks about why he thinks it is important to engage with fans about his work on social media. He also opens up: on what the challenges are when taking the musical-reigns of an existing movie-franchise, about what Tom Cruise had to say about his original score, and finally, on something that no one knew (until now) about his experience of scoring the sixth entry into the Mission: Impossible franchise.
Artwork still not approved. It will NOT be going on sale tomorrow at 12 pm pst as scheduled. This title has been delayed until further notice.
As soon as everything gets squared away we shall move forth with the mission.
Sorry, guys.
This is mind boggling really. How could the studio not have everything approved by the films release? Wouldn’t the best time to release the soundtrack be with the films release?
