Well, this one could go either way. Banos could give us some of that fantastically dramatic stuff we heard in fits and starts in OLDBOY, REGRESSION and EVIL DEAD (the later being for the same director as this film), or he could give us some phoned-in generic modern suspense scoring like THE COMMUTER. I guess time will tell, but it's probably safe to err on the side of the later sadly given the subject matter of the movie...
Besides composer is this the same team behind the original trilogy of films? EDIT: NVM watched the trailer and the answer is clearly no. But it looks fantastic and totally nails the series' aesthetic.
Even though I am always kind of sad when a composer gets stuck in a single genre, especially when he has shown SO MUCH varied talent in a wide range of Spanish films, if this becomes a big hit it will finally give him a name. I, of course, would look forward a bit more to his YUCATAN, MIRACLE SEASON or THE MAN WHO KILLED DON QUIXOTE. But this one might gain him an American audience, which is all important, especially here.
Hopefully he will finally deliver his FIRST good thriller score for a Hollywood production. Although I am quickly losing any hope that will ever happen after so many generic and disappointing scores he has produced since his move to L.A.
Hopefully he will finally deliver his FIRST good thriller score for a Hollywood production. Although I am quickly losing any hope that will ever happen after so many generic and disappointing scores he has produced since his move to L.A.
I'd agree overall, though there are fantastic shining moments in both OLDBOY and REGRESSION. I'd also consider EVIL DEAD a terrific horror score as well. I know what you mean though. He's had a lot of phone-in misses since coming to work in the US, as sadly happens to many composers now it seems.
I just hope that at least Fernando Velazquez stays where he is, moving to LA was maybe good for Roque's wallet, but it definitely wasn't the same for his artistry
I just hope that at least Fernando Velazquez stays where he is, moving to LA was maybe good for Roque's wallet, but it definitely wasn't the same for his artistry
Have to agree there. Although I've enjoyed a few of his later scores.
Really enjoyed the solo cello work at the end of the film and during the end credits. Soloist deserved a listing in the credits but sadly wasn't mentioned...
