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Posted: |
Jun 6, 2018 - 4:58 AM
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By: |
Thor
(Member)
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Couldn't find a previous thread about film and score in the search engine, just a thread about the film which Henry posted on the non-film score side.
I really, really wanted to like this film, since I'm a big fan of Bayona, but alas I found it even more disappointing than JURASSIC WORLD. Just came back from an IMAX screening here in Norway. There are 4-5 good scenes, where the Bayona touch shines through -- whether his gothic horror-like style (A MONSTER CALLS, EL ORFANATO) a or his brilliant melodrama skills (LO IMPOSSIBLE). But beyond that, it's a messy affair with shallow, stereotypical characters. No ingenuity in the action tableaux, no awe & wonder.
It's not a bad film -- like WORLD, it stil works as a reasonable "creature feature" -- but it had so much more potential.
The score was -- predictably -- absolutely dreadful, and at least 75% responsible for my disappointment. Giacchino has two tricks -- either very simplistic, big chord leaps (rather than defined melody lines) or endless ostinati, and this is on display here yet again. The few references to Williams themes (fewer than in WORLD) were mostly hokey and unsophisticated in terms of how they appeared. I can only imagine how much more involved I'd been if Bayona had been allowed to bring along Velazquez for this film. 
My suspicion is that Colin Trevorrow's damp hand has prevented this from being the visionary Bayona film it could have been. At least I want to blame Trevorrow. But in a way, it also says to me that perhaps Bayona is not an action auteur; he works better in other forms of cinema.
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I'm looking forward to this film, except for the third film I really like them all, but wonder why none of the sequels have matched the original?
Park had something I haven't seen since in the sequels: a sense of wonder. But for the target demographic, that translates to "cringe cheese", and that hits stockholders in their murses.
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What has the WORLD come to when we have to tell THOR to "use the search engine ". Damitt!
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....."and.......loving it!"
(unlike the ALIEN films)
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Posted: |
Jun 7, 2018 - 10:34 AM
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By: |
bobbengan
(Member)
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Boy, Bernard Hermann and Stravinsky had a baby who wrote some very unsurprising film music.
Entertainment Weekly follows up his comment about that approach with this idiotic statement:
"Let’s be honest — you probably don’t know what that classical musical reference means (neither do we)."
Morons. It's 2018. Use Google.
As for that cue itself - totally agree with you, Schiffy. Bland and dull music, unworthy (and in no ways evocative of) the two composers mentioned, never mind Williams' own work in this series.
I hate to harp on Giacchino so much, because he seems like a genuinely good and humble guy. He's not totally without merit (I'll defend most of JOHN CARTER any day, the closest thing he's written to a truly great score). But what people hear in his music, by and large, just totally escapes me. His career has been one disappointing missed opportunity after another. His STAR TREK theme is the least inspired space-faring melody I've perhaps ever heard. His melodic sensibilities by and large are so clunky, the melodies awkward, obvious, trite or too limp to be remembered or noticed. Add to that fanboy-quality orchestrations and a total lack of harmonic creativity, and I'm really just left scratching my head as to why this guy keeps being handed amazing opportunity after amazing opportunity.
When Williams was dealt that same hand, he really and truly MILKED the opportunity, each and every time, almost always without fail: A rare combination of formidable talent and copious opportunity to showcase that talent on a grand stage. Giacchino has been given the stage, but just doesn't have the chops.
He reminds me of all these current crop of young film composers popping up who whorship Williams, Zimmer, Goldsmith, Silvestri, et al but don't know a damn thing about what came before them and who inspired THEM, never mind have any vested interest in crafting a unique voice devoid of references to their favorite film composers. Giacchino's entire career output has been hugely symptomatic of that trend toward employing "fanboy composers" versus inspired originals with unique voices and demonstrably unique techniques or compositional vocabularies.
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I hate how the article is written. Why don't you trust your reader to know who Herrmann (spelled incorrectly in the article, naturally) and Stravinsky were? Or give them helpful parentheticals to note works they might be familiar with? No, they write "Let’s be honest — you probably don’t know what that classical musical reference means (neither do we)."
Also, this music is not great. The mix seems better, even with this sub-96kbps stream.
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