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Though it was a surprise to see a three-time Oscar nominated actor credited as the voice of Winstead's boyfriend over a cell phone, it was a much nicer surprise to hear the Blaster Beam after so long, and see it (and Craig Huxley) credited it in the final crawl.
Lots and lots of score, much more than I expected, and much more memorable than The Boy or The Forest (though I only know those from the movies; haven't heard the albums yet).
My kudos to whomever edited the trailer -- very well put together, and I was pleased to see that what looked like climactic scenes were relatively early in the film, so for the second half of the film I had no idea what to expect for once.
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Lots and lots of score, much more than I expected, and much more memorable than The Boy or The Forest (though I only know those from the movies; haven't heard the albums yet).
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I haven't seen either THE BOY or THE FOREST, but the albums were rather good IMHO.
There's clearly an influence of Elmer Bernstein on his score to THE BOY.
In the case of the FOREST. a bit of the influence of Jerry Goldsmith in the the evoking of the Japanese local, very lovely IMHO.
I'm hoping that 10 CLOVERFIELD LANE does a lot for this career.
Ford A. Thaxton
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Sounds great...
Buy lossless now or wait for CD? Decisions, decisions.....
Wonder if LLL will get signed copies ?
Yes, the cd will be out late April
MV
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As Richard points out above with a quote, TIME Magazine sings the score's praises in its film review. What's more, dig the headline for the critique: "NONSEQUEL 10 CLOVERFIELD LANE BUILDS BUZZ WITH A THRILLING SCORE"
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I come from the old age in which the LP soundtrack release preceeded or was coincided with the film release. What is the logic that now the customer must wait weeks or months for a CD?
Answer: Forced Digital. Plus corporate profits. Etc.
But we truly thank you who support us!
Life is challenging.
These days one of the advantages of delaying a soundtrack release may be timing it closer to the film's DVD/Blu-Ray/streaming release, which may be where more people will see the film (just a theory, mind you).
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... if they came at all.
I´m absolutely thrilled that scores are released these days this fast and made available digitally. If I have to get a CD I gladly wait for it.
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Not to sound like The Old Guy, but I suspect those of us of the generation(s) who had to wait 30 years for Family Plot or an expanded James Bond score are a little more philosophical about having to wait a few months for a new score's soundtrack release.
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Along with Beltrami's GODS OF EGYPT, this has been a delightful surprise from a composer who hasn't been on my radar.
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Posted: |
Mar 17, 2016 - 11:03 AM
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By: |
Morricone
(Member)
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I saw the movie yesterday. I thought it was alright but not great, creating only real tension during the last fifteen minutes, and when the final reveal came and it concluded, my reaction was, "Well, I've seen that movie. Twice, in fact." The score was to my ears OK, but didn't make a huge impression. I might feel differently if I hear it outside of the movie.
Wow! I am totally opposite. This is one of those hybrid movies like Peter Jackson's DISTRICT 9 that starts out as one kind of movie and another is tacked on. The good news for me, and not you Rory, is when this movie shifts gears to the same old CGI situations, that defy gravity, logic and all the other things that keeps me involved in a film, it is brief (Yaaah!) and much more prepared for than the Jackson debacle. If you like Hitchcockian character pieces this is really, suspenseful and well acted. Only at the very end does that part gets sabotaged.
My only complaint about the music would have been there was so much of it in the beginning that didn't seem to match what was playing on the screen that it seemed like an overwound clock, that is, up until you find it is your main character who is overly wound up and whether she is justified in being so is the story. Otherwise this is more like I would expect from a student of Elmer Bernstein than some of Bear's other projects in the sense of developing themes that go somewhere and all kinds of ornamentation as you are going there. So much of it (exotic instruments like the blaster beam) is crammed into this score that appreciation of much more of it may come when I get the soundtrack.
To be fair TV does not give you time for anything and this J.J. Abrams cocoon (aided by Richard Kraft) according to the Q&A enabled him to have freedoms unheard of these days. Thank goodness there are a few who still value an orchestra vs. synths.
Congrats to Bear on your first major big budget feature that sounds it.
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