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Posted: |
Feb 29, 2016 - 10:59 AM
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By: |
Thor
(Member)
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Well, it's hardly some great revelation or secret that there's a heavy bias for traditional, orchestral music at FSM, and that electronic music or anything related to Zimmer is at least guaranteed a handful of dismissive remarks. Are you sure you've been posting here for all these years?
I'm not criticizing it because its electronic, or because doesn't use an orchestra. I'm criticizing it because it's BAD electronic music, used as a gimmick instead of as a tool to enhance the narrative, and the orchestral music it does use is weak and repetitive. There's no dramatic impetus, no musical architecture or narrative structure, and in the context of the film it makes no impression. Triple strike-out.
I wasn't referring to you, in particular. You make your points constructively in the review (even if I disagree with them, obviously). It was more the all-too-common sweeping remarks I often see in these threads.
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Posted: |
Feb 29, 2016 - 11:12 AM
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By: |
Jon Broxton
(Member)
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I wasn't referring to you, in particular. You make your points constructively in the review (even if I disagree with them, obviously). It was more the all-too-common sweeping remarks I often see in these threads.
I can definitely see that. Immediately dismissing it simply because of the type of score it is, without any thought about why it might have been written that way, and what the director/composer is trying to achieve, is indicative of closed-mindedness. There are often genuinely good reasons for writing electronica-heavy, retro scores, and Deadpool had them. I think the *approach* of this score was perfect - I just don't think the final execution of that approach worked. It's perfectly possible to write good, interesting, dramatically appropriate, intellectually stimulating electronic music - as many, many composers have shown in the past. Unfortunately, I don't think Holkenborg succeeded in doing this.
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