Music sounds pretty much like how you'd expect from this composer.
There are some genuine moments of emotional and melody in this score... of course there are the obligatory Zimmerisons throughout the score, but RGW doesn't simply phone this one in.
If you enjoyed the last two tracks on his Hacksaw Ridge album, you're gonna enjoy this one.
And yes, Tina Guo does appear briefly with 'that' theme...
And I was really looking forward to this one. Will have a listen through the whole score when it comes up on Spotify however. Not fair to dismiss RGW whole score based on one track and a couple of scenes featuring his score.
Much better than "meh," that "Angel on the Wing" track. No real definite theme in there, but some nice moments and a nice overall sound. The track's more purely orchestral approach actually has me more hopeful for the rest of the score.
And I was really looking forward to this one. Will have a listen through the whole score when it comes up on Spotify however. Not fair to dismiss RGW whole score based on one track and a couple of scenes featuring his score.
It's not horrible, kinda RC from the 90's/ early 2000's which was somewhat enjoyable at times. But it's a style of music I've grown tired of. Way to generic.
And I was really looking forward to this one. Will have a listen through the whole score when it comes up on Spotify however. Not fair to dismiss RGW whole score based on one track and a couple of scenes featuring his score.
It's not horrible, kinda RC from the early 2000's which was somewhat enjoyable at times. But it's a style of music I've grown tired of. Way to generic.
That's a good summation. It's just not a sound I'm particularly enamoured with and was hoping that RGW would do something more distinct but hey, it's a big business and the guy delivered what he was asked to provide so there you go.
And I was really looking forward to this one. Will have a listen through the whole score when it comes up on Spotify however. Not fair to dismiss RGW whole score based on one track and a couple of scenes featuring his score.
It's not horrible, kinda RC from the early 2000's which was somewhat enjoyable at times. But it's a style of music I've grown tired of. Way to generic.
That's a good summation. It's just not a sound I'm particularly enamoured with and was hoping that RGW would do something more distinct but hey, it's a big business and the guy delivered what he was asked to provide so there you go.
Same thoughts. I was getting a very Pearl Harbor vibe from it. Not very memorable, but at least less bland (sadly) than Pirates (although that also delivered exactly what was expected--really wish Zanelli had come up with another brilliant Lone Ranger or With the Old Breed style cue, but of course that wouldn't have fit). And I have to say Rupert G-W's orchestration has always been some of the best of that bunch--at least in letting the orchestra still sound like an orchestra and not just a midi sound labelled "orchestra"
And I was really looking forward to this one. Will have a listen through the whole score when it comes up on Spotify however. Not fair to dismiss RGW whole score based on one track and a couple of scenes featuring his score.
It's not horrible, kinda RC from the early 2000's which was somewhat enjoyable at times. But it's a style of music I've grown tired of. Way to generic.
That's a good summation. It's just not a sound I'm particularly enamoured with and was hoping that RGW would do something more distinct but hey, it's a big business and the guy delivered what he was asked to provide so there you go.
Same thoughts. I was getting a very Pearl Harbor vibe from it. Not very memorable, but at least less bland (sadly) than Pirates (although that also delivered exactly what was expected--really wish Zanelli had come up with another brilliant Lone Ranger or With the Old Breed style cue, but of course that wouldn't have fit). And I have to say Rupert G-W's orchestration has always been some of the best of that bunch--at least in letting the orchestra still sound like an orchestra and not just a midi sound labelled "orchestra"
I think it's fair that every soundtrack enthusiast can imagine or envision what they expect a score to sound like and often disappointment occurs when the expectation isn't met. As a film score lover and composer myself, I have often "heard" what I think would be good for a score. The visuals and story concept around this particular film actually inspired me to write a programmatic piece myself based on what I envisioned in my head as suitable music for WW (that being Ravel mixed with Alex North). Obviously those two styles are not in favor in Hollywood and I wonder how many execs or focus groups ever heard of Daphnis et Chloe much less listened to the piece of music. It begs the question as to whether the director even has that kind of affinity for orchestral repertoire.
The point is, we aren't living in a time period where filmmakers are fluent in the kind of orchestral body of work that existed 20-30 years ago. Part of it is timing- works by Ligeti, Varese, Crumb and even Shostakovich were contemporaries of Golden and Silver Age film scores. These were exciting new developments in sound that attracted not only audiences but filmmakers who thought those soundscapes could make compelling underscores. Hence when someone like Jerry Goldsmith brings a POTA score to the table which is rife with Octandre-like instrumentation and Berg styled serialism, it made sense and was embraced by the director. Nowadays, thanks to the regression in popular music back to simpler forms, styles, both harmonic and rhythmic, what pricks the ears of current directors is an orchestral ostensibly playing rock music.
I respect RGW because I know the guy has chops. As I mentioned a few times, my personal expectations thus far haven't been met but I still want to listen to the entire soundtrack and try to divorce myself of those lofty sources of my hopes because, let's be honest, how many composers would be allowed to write like Ravel in this current time period- and don't mention Goldsmith's Secret of NIMH or Legend because they were composed 30 years ago, and the latter was chucked from the finished film to be replaced by a "current score" Tangerine Dream by those 80s standards.
Anyhow, I will post further thoughts after giving the score a fair listen.
track 5 and trafalgar celebration are a major highlight.the later is classic scoring which RCP doesn´t do often.its definately better than the last few dc scores.maybe the best since superman returns,without being even remotely as good as that.the movie on the other hand is as good as i hoped it would be.at least from the reviews.have to wait at least 15 more days until i can see it.
He said everything I wanted to hear, point by point what makes a well rounded film. Until he said, Dark Knight Rises is a better film. "Rises" script and direction was abysmal. Also he said WW was colorful and not desaturated. Well based on the trailers the color is desaturated and bland. Great review until he tossed in the monkey wrench! I'm left confused by those opposite analysis.
Having now seen the film, I can say I enjoyed it and the score in it. I was worried the Zimmer WW theme would not fit into this film, but the way it was used made sense. Had no problems with it. The No Man's Land scene is probably one of the greatest scenes in film I've seen this year, and the score had a huge part in making it send chills down my spine. Patty Jenkins was probably the perfect choice to direct this film.
