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Saw the film today. The score, while it effectively supported the film, seemed predictable, familiar and derivative, and terribly unfresh. I like a lot of Newman's earlier work, but I felt like I'd heard just about every note of this score before. I didn't know Newman scored it prior to seeing the film, and while I instantly recognized him, part of me wondered if it was actually him or a Newmanesque composer trying to emulate his style, which has been done to death.
I liked the film more than I thought I would! Kind of a throwback nifty little thriller that handled things simply without being too chaotic. It really worked.
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Posted: |
Mar 14, 2011 - 1:46 AM
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By: |
John Mullin
(Member)
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21:30?? That seems like a luxury! The last couple of half-hour shows I've worked on are barely seconds over twenty minutes (less, as you say, once the logos and credits are taken out). And making a shorter show is harder than making a longer one.
Yes, it's 21:30 (or about 20:54, minus credits and logos) when you work for the Mouse these days. I've heard that CBS shows have gotten a bit shorter than that still! Basic cable allows their shows to be slightly longer. MAD MEN, I hear, is allowed to go up to 47 minutes or so per episode, but of course they make up for it by infusing each show with enough blatant product placement to pay AMC's entire operating expenses and then some. I worked on a premium cable half-hour last year, which allowed us to leave the episodes as long as 27 minutes! But anyway, enough inside stuff...
I thought THE ADJUSTMENT BUREAU was a good movie when it was in love story mode. Whenever a scene came where someone explained a bit about what the Bureau is and what it does, my enjoyment ground to a screeching halt. Although the concept is a really cool one, I think a lot of that stuff would have been better left off camera, frankly. The movie often got going for me again when Matt Damon and Emily Blunt would reunite, however, and if I were a gradin' man, I might place the movie in B- / C+ territory.
I thought Newman's score was good... it's too bad it's not available in some high-quality format. A funny thing, though is that I heard people describe it being "sci-fi tinged." I honestly don't hear that at all... it sounds a lot like the normal kind of stuff that he always does, really. It's a style that I like, don't get me wrong, but there's no wheel reinvention happening here.
I am pleased that he's working on movies that are actually getting released again, however. I have it on good authority that Newman recorded his music for THE DEBT in January of 2010, well over a year ago. I know the subject material is a bit controversial, but NFL Football's John Madden has done a great job directing sensitive material in the past and if nothing else, it sounds a movie worth seeing and discussing. In any case, I hope another active period of scoring high-profile pictures is in Newman's near future.
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This is easily my favourite film for quite a while.
I just absolutely loved it.
The main reason is the two main characters, played by Matt Damon and Emily Blunt, who have the best on-screen chemistry I've seen in quite some time.
I was instantly sold on their romance, despite the almost ridiculous first kiss in the gents.
Even when some major plot holes started to appear in the film, their situation and the brilliantly realised agents of the bureau kept me tagging along.
I also appreciated Thomas Newman's score.
Sure, it was nothing new under the sun from him, but it had HIS character. HIS style. It made the film somehow more unique. Not just some phoned-in droned-in.
I could easily watch this film again, and probably will.
There are obvious comparisons with INCEPTION, a film I admired technically, but pretty much hated on an emotional level, but it just highlighted the influence of Philip K Dick on a lot of recent/past sci-fi. Even Stephen Kings epic DARK TOWER series seems to be taken straight from the pages of Philip K.
Good points, all!
Very, very good flic and unlike INCEPTION, whose two leads had zero chemistry.
There were no credits so I was trying to guess the composer for a good amount of time. Then there appeared a phrase of music anf the light bulb went on -"That's gotta be T. Newman" I says to meself
I am glad I dont like the score enuf to purchase it
Damn you downloads! Damn you all to hell!!!!!
check it out
bruce
ps I am a big PDK fan but I am not familiar (or dont remember) the short story that the screenplay is based on.
How faithful is it?
This is probably the best adaptation after blade runner
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btw how refreshing to hear an English actor (Emily Blunt) use their native accent instead of adopting a phony and unnecessary 'American" one.
Wish more would follow suit e.g. Liam Neeson.
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You're right. $12.99 and not even a friggin digital booklet included. Welcome to the future of music.
No wonder people are just file sharing.
James
Well that didn't take long.
James
do you get artwork that can be printed out and inserted into a cd case w/downloads?
like a REAL CD?
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Was there ever a FYC release for this? Or is there any outlet offering a lossless version?
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Just downloaded this one. Can't believe that a label wasn't prepared to release on CD a score by one of the best of the current composers. Really enjoying it. I must catch the movie.
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Just downloaded this one. Can't believe that a label wasn't prepared to release on CD a score by one of the best of the current composers. Really enjoying it. I must catch the movie.
Finally caught the movie and enjoyed it. Strong performances by Blunt and Damon and a pretty good plot idea that engaged my attention through to the climax. Nice use of New York locations including the wonderful Museum of Modern Art which I visited in 2019.
Newman's score is effective enough though, for me it works better on album than in the movie.
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