With Armstrong living in U.K. in guess it might be way too complicated to make him do that... but on the other hand it did work with Arnold (who on the other hand seems to be far more approachable) on all previous occasions.
My copy finally arrived from Amazon. Whoever said it's similar to the 1994 Doyle score was right, in all the best ways. It's epic, romantic, thematic, brooding, gorgeous!
Absolutely love this! The kind of score that really makes you want to give the film a go. I prefer it to Patrick Doyle's FRANKENSTEIN as i found that to be a bit exhausting as a whole listen. This seems much more balanced in its musical journey. Once again all the stops are pulled out for what i take to be the 'creation' scene although i think Patrick Doyle's wonderful frantic piece for that moment will never be beaten. All in all great to hear Craig at the top of his game. Thought there would be more discussion of this one.
I love it! I've listened to it a few times, and though I don't find it to be particularly memorable, I do find it to be thrilling and fun. I've not heard good things about the film, but I'll check it out on blu-ray where I'm sure the score will make it better.
Well, I want to get it but haven't yet, and I have little interest in seeing the film. I'm afraid I'm just not in a position to comment yet, but I look forward to reading other people's comments on it and I very much appreciate yours!
It sounds like Craig Armstong composed at least two truly great scores this year -- ones that Golden Age fans who think all grace and melody has left film music should give a listen to!
Exactly. All of those individuals moaning about the loss of melody and orchestral finesse seem to be missing from this thread. There are at least five distinct, very orchestral, themes in this work. Synth augmentation is minimal. If you liked what Doyle did in the early 1990s this is for you. Similar orchestral fireworks (though not as wild as Doyle sometimes got) with complex melodies that intermesh with one another in intriguing ways (after all, Frankenstein is a 'creator' of many of the characters in the film). I have now listened to this for two weeks in a row and it just keeps getting better with each listen.
It's stunning, hugely thematic, sweeping, like the best 1990s works that made me fall in love with film scores.
There's a definite similarity to Doyle's score, in tone and style, but this is absolutely classic Armstrong, filled with hummable themes, everyone should pick it up.
I've given this score two spins so far and it really is a great listen. Although Armstrong can have quite a classical sound, I always feel there's a modern groove to his music just bubbling under the surface (and often times spilling over in certain scores). This one seems like that. Not the modern groove we associate with the Zimmer factory, but something almost contemporary to his rhythms amongst the classicism. The Dark Red theme is fantastic and memorable. I don't think I'll hear a more beautiful cue titled Body Parts I'm sure I heard a quote of Elfman's Batman theme in the mix somewhere. Prometheus Ascending is one pulse-pounding, thrilling cue. I love the Igor and Lorelei refrains. Reunited is gorgeous and eye-wetting. This is a cool score and I'm gonna enjoy playing it lots more. I ain't seen the film btw, the mainly negative reviews really put me off a cinema trip. Maybe on the telly.
I said Elfman's BATMAN theme was in the mix (above) when I last played this, but I'm listening to it again right now and I've realised it is actually Elfman's SCROOGED theme that pops up around the 30 second mark of track 19 (Gordon's Escape). I'm bloody lovin' this CD.
I'm reviving this thread because I'm listening to the CD again right now for the first time in a while and I stand by my opinion, it's my favorite contemporary score since OBLIVION in early 2013.
Anyone who cares at all for film scoring MUST listen to this album. It's the kind of epic, thematic music that made me fall in love with film scores in the 1990s and which seems to be verboten in studio films this decade. I have NO IDEA how this score snuck through the system without being mutilated into tuneless wallpaper, but it's a miracle. Highlights:
Bumping this thread because I'm listening to it again right now and dayumn! I think it's the most gorgeous score of the last five years. STUNNING score, woefully underappreciated.
