|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I didn't think that Xavier's "Hope Theme" sounded much like Zimmer's "Time" track, personally. Here, I'm at work, so you can borrow my ears for a bit.
|
|
|
|
|
|
|
|
|
|
Posted: |
May 28, 2014 - 8:10 AM
|
|
|
By: |
Moviedrone
(Member)
|
In a “Best / Worst Of” column regarding X-MEN 7: DAYS OF FUTURE PAST on HitFix.com today, Drew McWeeney listed John Ottman as a “Best” saying… Best: Ottman’s return to actually weave in his earlier musical themes John Ottman is the best composer to have worked on the X-Men series so far, and his score for “X2" is the best of the films until now. Hearing him actually bring back themes from the earlier films pays off here, particularly once we see the way this sort of folds the entire series back in on itself. I miss the days when films had distinctive character-driven themes and you could almost just listen to the score and see everything that was happening, and Ottman does his best to give this film the epic sound it deserves. Even if Singer isn’t back for the next film, I’m hoping they keep Ottman, because he gets the X-Men as much as anyone else who has worked on the series so far. - Drew McWeeny http://www.hitfix.com/galleries/best-and-worst-of-x-men-days-of-future-past#12 Allow me to repeat his first line for emphasis: “John Ottman is the best composer to have worked on the X-Men series so far, and his score for “X2" is the best of the films until now.” Please discuss. He's wrong, even if I do like DOFP. Kamen is by far the best composer, and X2 is still the best. I enjoy Powell's X3, but it has always felt overcooked to me, like it was overcompensating for the film being so dreadful, and that distracts me from his wonderful themes.
|
|
|
|
|
|
|
|
|
|
|
|
Jackman is also guilty of mimicking "Time" in a few of the dramatic moments in First Class. And in Captain Phillips. Painful.
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Jun 4, 2014 - 11:01 AM
|
|
|
By: |
David-R.
(Member)
|
Unfortunately, there isn't that much of interest for me on the CD. There's a lot of action, a lot of electronics, but no overall replayed theme and/or identity that permeates the picture. I now can understand all of the people comparing Hope (Xavier's Theme) to Zimmer's Time from Inception; the similarities are present. There were a few highlights on the CD, though: 1. The Future/Main Titles - it was good to hear Ottman's X2 theme again, albeit for a brief 30 seconds. 8. Springing Erik - a cool enough caper piece that's fun to listen to. 15. Time's Up (Film Version) - I really appreciate what Ottman did here: he brought back Jackman's Magneto theme from First Class. "But what?" you say. "I didn't think I heard that!" You did, my friend, albeit changed ever a bit. While the melody is altered, the harmonic structure, tempo, and pattern of eighth-eighth-half note in the melody all remain the same. I applaud this little bit of musical continuity. 17. Join Me & 18. Do What You Were Made For - both of these pieces are the emotional highlights of the soundtrack. Track 17 has a pretty cello melody at its conclusion, and track 18 plays bars from Ottman's X2 theme in a slow, somber way. Unfortunately we don't have a nice End Credits theme. That would have been a fantastic wrap-up on the disc. At least we get Time In A Bottle, by Jim Croce, used in the best sequence in the film. Overall... Meh. It is probably near the bottom of the X scores, but there are some tracks I will play again.
|
|
|
|
|
|
|
|
|
|
|
|
Ever hear of temp-tracking? Don't assign guilt to Jackman if he's being directed to adhere closely to the temp of that cue from INCEPTION. It's his job to follow what the director & studio want to hear in the movie. We all know the reasons why things like this happen, but Jackman's name is the one on the album. But when I said "pitiful," of course I was referring to the situation, not Jackman himself being pitiful for once again copying the same music he had already copied elsewhere.
|
|
|
|
|
I was a little surprised at how low-key the score for this film played in the film relative to how relatively front-and-center it was in X2. After all of the negative comments I'd been reading, I wasn't expecting much from the album, but I was surprised to find a few moments here and there that I really liked. It isn't an outstanding entry — I think Ottman's own X2 is somewhat stronger than this — but it certainly has its moments. While Ottman's own main theme is for the most part relegated to the title sequences, a few motives from X2 pop up here and there, most prominently in the sequences featuring young William Stryker. I did appreciate the allusion to Henry Jackman's Magneto theme in “Time's Up.” I'm curious as to the story behind that, as the scene has nothing to do with Magneto. I've always felt that of all the characters in the X-verse, Magneto has musically been the most consistently interesting. Michael Kamen's relentless theme for him in the first film works gangbusters in the film (one of the few aspects of the score that does), and Ottman's X2 tended to play up his majestic element with Bayreuthian brass, while John Powell's Magneto theme sort of bridged the gap between the two. The unfortunate genesis of Jackman's theme nevertheless gave First Class it's standout musical signature. I felt that the best part of the film was the scene where Victoria Principle wakes up and finds Patrick Duffy taking a shower. My favorite score of the series was and remains John Powell's epic X-Men: The Last Stand.
|
|
|
|
|
|
Springing Erik was my favorite cue hands down.
|
|
|
|
|
Springing Erik was my favorite cue hands down. Hands down what?
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|