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No problem. If you like your films charmless, humorless, devoid of interesting or likeable characters and really, really loud, then feel free to love Man of Steel. It's a Transformers movie without Shia to make it appealing.
That is exactly what the wall-of-noise by Zimmer sugests the movie is.
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Posted: |
Jun 12, 2013 - 12:10 PM
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By: |
Jon Broxton
(Member)
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I posted this on another message board yesterday, but it seems relevant here too:
I have listened to the score three times, but not seen the film yet.
For me, Man of Steel's failure is has nothing to do with it not sounding like Williams. One of the few things that Man of Steel has going for it is that it *doesn't* sound like Williams. Snyder's film has a different tone and a different energy than any of the Reeve movies, and having music that sounds like Williams would have been wrong.
It's also got nothing do with a lack of compositional complexity. Simple can be wonderful, and on many occasions HAS been wonderful. But Man of Steel, to me, uses simplicity to make itself anonymous rather than because the film demanded it for fear of it being overwhelmed. It's lowest common denominator scoring designed to created maximum sheen with limited texture, and it has no personality of its own to make it sound like this is an iconic score for the greatest, oldest, and most beloved super hero in the world. This could be music for anything.
I want music that sounds like *something*. I listened to the whole score twice last night and on several occasions found myself simply aghast that Zimmer calls this groundbreaking and innovative or in any way depicting what Superman is about.
Zimmer seems to have completely misunderstood who Superman is in this score. His tone for Batman was correct; Batman was a dark, shadowy anti-hero who dwells in darker places. Superman is all about light and justice and hope and heroism and patriotism. I don't hear any of those emotions or concepts in Zimmer's music. I hear a two-note piano theme which isn't long enough or developed enough to convey any emotion at all. I hear aimless electric guitar chords which sound like a cross between the wall of sound from INCEPTION and some underdeveloped variations on his music from BROKEN ARROW, but without the life or energy Nelson Eddy brought to that score. I assume Michael Einziger from Incubus is the guitarist here, and if so, then he must have been bored out of his mind playing the same repeated riff over and over again, which never goes anywhere.
The action music, at least in the first half of the score, is terrible, just banging on very large drums for a few minutes, underlaid with the synthy loops that were sounding dated when he used them in THE PEACEMAKER. I understand what Zimmer was doing here, but the rhythms don't even seem to fit together to form a coherent pattern. It's just messy and noisy, and poor from a purely compositional standpoint.
I will admit that a couple of the last few cues are somewhat more enjoyable, "Flight" and "What Do You Do Yhen Your're Not Saving The World" have a cool throwback style with the CRIMSON TIDE choir, and some of the crescendos are viscerally appealing, but beyond that there's nothing.
It's a sad state of affairs when a couple of good cues at the end of a score are enough for people to consider the score a success. My standards haven't slipped so low. For a character as iconic as Superman and a film as anticipated and as potentially defining as Man of Steel, a more coherent musical identity was needed, and for me it just doesn't have one. Zimmer is more than capable of delivering music that has more emotional depth and intellectual design than this. There's just nothing there.
Anyway, these are a lot of my initial thoughts and ideas, and a lot of this will make its way into my review next week, which I'll write properly once I've seen the film. I hope that it will alter my view of it somewhat.
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It's lowest common denominator scoring designed to created maximum sheen with limited texture, and it has no personality of its own
Isn't it the summon of all Hanzimmer's action scores?
BTW, YOR will not be surprised if some smart guy rename all the tracks of this score and start to sell it as the "Inception 2" new soundtrack on e-bay!
Zimmerities will pay big dollars for it and won't even notice that it is in fact the new Superman wall-of-noise with different track names...
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Posted: |
Jun 12, 2013 - 12:24 PM
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By: |
nuts_score
(Member)
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Every time someone brings up review aggregates or copy/pastes from an online review I am reminded of how goddamn boring the internet actually is. And predictable.
I can't wait to see the film and judge it on my own feelings!
Thanks for staying savvy FSM!
I am not sure what your first paragraph means.But critics do serve a purpose, as do review sites and aggregates, and so do discussion of films here.
The first paragraph means that no one is going through the trouble to actually debate critical analysis (impossible when most of us have not seen the film) or have a discussion of the medium. Instead, they'd rather quote someone else bringing in a negative review, or tell us this or that percentage of online blogs was in favor of the movie.
Your right, critics can serve a purpose: Roger Ebert was a fanastic wordsmith and had wit for days. His banter with equally-intelligent Gene Siskel might be the basis most of the community actually acknowledges film criticism in America. Pauline Kael, another great writer who was able to communicate in a style and prose her own. Amongst them, many others with varying results.
Here's another purpose they serve: justifying someone who already had a negative opinion before seeing something. "Oh, if Pete at FilmPuke Blog didn't like it, then I was totally right! It's not good!"
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I posted this on another message board yesterday, but it seems relevant here too:
I have listened to the score three times, but not seen the film yet.
...
Anyway, these are a lot of my initial thoughts and ideas, and a lot of this will make its way into my review next week, which I'll write properly once I've seen the film. I hope that it will alter my view of it somewhat.
I think you nailed it.
We now live in a world where Thor got a more interesting score than Superman.
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Posted: |
Jun 12, 2013 - 1:34 PM
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By: |
lonzoe1
(Member)
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I posted this on another message board yesterday, but it seems relevant here too:
I have listened to the score three times, but not seen the film yet.
For me, Man of Steel's failure is has nothing to do with it not sounding like Williams. One of the few things that Man of Steel has going for it is that it *doesn't* sound like Williams. Snyder's film has a different tone and a different energy than any of the Reeve movies, and having music that sounds like Williams would have been wrong.
It's also got nothing do with a lack of compositional complexity. Simple can be wonderful, and on many occasions HAS been wonderful. But Man of Steel, to me, uses simplicity to make itself anonymous rather than because the film demanded it for fear of it being overwhelmed. It's lowest common denominator scoring designed to created maximum sheen with limited texture, and it has no personality of its own to make it sound like this is an iconic score for the greatest, oldest, and most beloved super hero in the world. This could be music for anything.
I want music that sounds like *something*. I listened to the whole score twice last night and on several occasions found myself simply aghast that Zimmer calls this groundbreaking and innovative or in any way depicting what Superman is about.
Zimmer seems to have completely misunderstood who Superman is in this score. His tone for Batman was correct; Batman was a dark, shadowy anti-hero who dwells in darker places. Superman is all about light and justice and hope and heroism and patriotism. I don't hear any of those emotions or concepts in Zimmer's music. I hear a two-note piano theme which isn't long enough or developed enough to convey any emotion at all. I hear aimless electric guitar chords which sound like a cross between the wall of sound from INCEPTION and some underdeveloped variations on his music from BROKEN ARROW, but without the life or energy Nelson Eddy brought to that score. I assume Michael Einziger from Incubus is the guitarist here, and if so, then he must have been bored out of his mind playing the same repeated riff over and over again, which never goes anywhere.
The action music, at least in the first half of the score, is terrible, just banging on very large drums for a few minutes, underlaid with the synthy loops that were sounding dated when he used them in THE PEACEMAKER. I understand what Zimmer was doing here, but the rhythms don't even seem to fit together to form a coherent pattern. It's just messy and noisy, and poor from a purely compositional standpoint.
I will admit that a couple of the last few cues are somewhat more enjoyable, "Flight" and "What Do You Do Yhen Your're Not Saving The World" have a cool throwback style with the CRIMSON TIDE choir, and some of the crescendos are viscerally appealing, but beyond that there's nothing.
It's a sad state of affairs when a couple of good cues at the end of a score are enough for people to consider the score a success. My standards haven't slipped so low. For a character as iconic as Superman and a film as anticipated and as potentially defining as Man of Steel, a more coherent musical identity was needed, and for me it just doesn't have one. Zimmer is more than capable of delivering music that has more emotional depth and intellectual design than this. There's just nothing there.
Anyway, these are a lot of my initial thoughts and ideas, and a lot of this will make its way into my review next week, which I'll write properly once I've seen the film. I hope that it will alter my view of it somewhat.
To be fair. This Superman isn't going be our daddy's Superman. This is a much more different interpretation of the man of steel than what we've seen before. From the looks of the trailers and what Snyder and co. were saying about their version. This Supes is going to be edgier and more grounded. He's going to be dealing with issues of not being normal and trying to fit in with the rest of Earth. Heck Supes Earth father was telling him in one of the trailers "that maybe he shouldn't do anything to help people in need even if he can". Not the exact words but something to that extent. TPTB are basically taking what Nolan did with Batman Begins and applying it now with Superman, whether it succeeds with similar positive results as Batman Begins is another story. That could be why Zimmer's score isn't what you and some expect from a Superman score. Zimmer's probably reflecting that this Superman is grounded, and angst driven. It does look like a darker/Nolan-ised Superman movie.
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Thanks for staying savvy FSM!
that's "you stay savvy, FSM "
lol!
ron Burgundy
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Amazing!
Some people actually like this piece of crap.
YOR thinks if Hazimmer record his farts and put it trough some digital filter and release it as his next score, the zimmerities will praise it as his last masterpiece too.
Amazing!
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I just can't imagine having the time or the energy you expend - endlessly, tirelessly - to bang your empty point home time and time again, without any real thought or insight or rationality.
There are things I don't enjoy. Mayo on a sandwich, South Park, Elliot Goldenthal, Frank Miller ... but I don't feel the need to just fucking trumpet it again and again and again.
But YOR feels the need!
YOR is might hunter from the future in his great crusade of saving the world of nasty army of Hanzimmer, the abominable.
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