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 Posted:   Jul 15, 2014 - 7:49 AM   
 By:   KeoNato   (Member)


He used synths in Star Trek Into Darkness???

I didn't notice any in the first Trek film he did (film or score release) or the newer film (haven't listened to it on CD).


I only noticed it recently when watching the movie with headphones. It's during Harrison's jump ship attack early in the movie. (And it may or may not be more evident on an unmentionable that may or may not exist...)

 
 
 Posted:   Jul 24, 2014 - 9:52 AM   
 By:   Kev McGann   (Member)

Saw this last night and while I did enjoy it and think it's a pretty good film, I enjoyed the last one (Rise) more and found it's more intimate setting more involving.
It's good that this one is taking things up a notch, but I found sections of it quite plodding and boring. Too many scenes reminded me of Greystoke (I know, hard to avoid with all those life among the apes/tribes scenes) and I didn't care as much for the characters in this one (human and ape) as much as I did in Rise.
Still, amongst the usual dross, this was a bit different from the norm so I didn't suffer as much franchise fatigue, which is nice.
I also thought the music by Giacchino was pretty standard by him, hearing his now familiar tropes being trotted out, from the plinky/slow piano theme, through the Lost-like percussion sections and John Carter mystery and choir, to the Super 8 suspense/action licks. Admittedly miles better than 'phone-a-drone' Remote Control stuff, but not up to previous MG efforts and below Patrick Doyle's effort on Rise for me.

 
 Posted:   Jul 28, 2014 - 6:42 AM   
 By:   WillGoldNewtonBarryGrusin   (Member)

Love this score, also because it knows when to remain understated (a rarity these days) and how to do pathos that feels earned rather than forced by overpowering the listener.

There is real tension and startling tenderness in this score. Yes, Giacchino uses all the tricks in his book, and due to the vast catalogue of his expansive work on LOST one might get the feeling of familiarity. Still, to my ears this score shows a more mature approach of an artist rising above his early sturm & drang.

A great score, on my top ten list this year!

 
 
 Posted:   Jul 28, 2014 - 9:41 AM   
 By:   Tango Urilla   (Member)

I just saw Dawn this past weekend and thought Giacchino's score worked perfectly. His music made a real impact during the first twenty-some minutes when we're with the ape colony in the redwoods. No dialogue, just pictures of a primeval community living out its daily routine, fathers raising sons, spearing fish or bathing at the river, returning to their home fort on the cliff, and Giacchino's music tenderly tying together this moving portrait of life.

Despite Ligeti appearing recently in Godzilla, I found the 2001 reference over the opening deer hunt incredibly stirring and of course far more fitting a reference. I'm not denying how well the nods worked in Godzilla, but in Dawn the music worked not merely to suggest something terrible and otherworldly, but to underline the growing humanity of the apes as well. I also enjoyed the brief flourishes of clattering percussion that accompanied the warring side of the apes. All in all a terrific film (best I've seen so far this year) and a perfectly emotive score to go along with it.

 
 Posted:   Jul 28, 2014 - 10:34 AM   
 By:   Shaun Rutherford   (Member)

Love this score, also because it knows when to remain understated (a rarity these days) and how to do pathos that feels earned rather than forced by overpowering the listener.

There is real tension and startling tenderness in this score. Yes, Giacchino uses all the tricks in his book, and due to the vast catalogue of his expansive work on LOST one might get the feeling of familiarity. Still, to my ears this score shows a more mature approach of an artist rising above his early sturm & drang.

A great score, on my top ten list this year!


Were there even 9 other scores this year?

 
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