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ouch..... that's all I can say....
YUP! I only made it halfway through the track before I had to close the YouTube window. It had some promise but quickly collapsed into electronic noise IMO.
Hopefully, it works well in the movie, but I can't listen to it as a standalone album.
I admire Wallfisch's softer work and even Shazam but the last couple of things he's done seem more sound design than music.
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Clinton's score is still superior in every way.
Don't agree, likely falls in the category guilty pleasure.
Wallfisch is a tremendously agressive score, big orchestra and choir (was recorded in Australia), and abrassive electronics (like in horror scores, but to emphasize the violence and brutality of the movie and some very interesting 80s synths) and taikos and japanese flourishes.
Very strong score
Just listening to the samples and I already agree with you. Will buy this tomorrow when it comes out.
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Was looking forward to this but between the riffs from Shazam or the noisy EDM stuff, it's too tough to listen to...
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Shazam! is a old school superhero score (a very good one, i might say), isn't comparable to something like Mortal Kombat by any means.
I love Wallfisch in the sense is a verstile composer who isn't afraid to make a drama like Summer in February, create horror atmospheres like Lights Out or the two ITs and go out electronic/orchestral like Hellboy or this Mortal Kombat, hell, is work in BR2049 is tremendously good, because is by him, not by Zimmer enteraly.
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Wallfisch had to change and adapt, if he wanted to become an A list film composer.
Like many, I'd love nothing better than to hear him write gorgeous symphonic scores like SUMMER IN FEBRUARY all the time.
But he wouldn't have lasted long just doing that.
His stint with Zimmer helped him 'dumb down', if you will, and give the producers and directors of today the programmed midi sound they so desire.
Parts of this score remind me of BR2049. Cole Young and Birthmark could have come straight from that score.
I admire his versatility too.
He may not be the composer I first discovered and enjoyed all those years back, but his adaptability will see him go far in the current industry.
But all films are not Summer in February, that's is a drama, for god's sake.
Also, Wallfisch isn't the first time going all go electronic/orchestral hybrid, he did it in Hammer of the Gods, Hellboy and The Darkest Minds, even Conquest 1453 have samplers... and nothing in Mortal Kombat sound like BR2049, and that work is full electronics/synthetizers/sound designs, and really good one, not as good as Vangelis, but really good.
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I think Wallfisch has lost his voice ever since joining with Zimmer. This score sounds like every Zimmer trope structured together as an overlong track for a bad action movie trailer.
2049 had the same problem - just a lame copy of Vangelis that didn’t have any of the vision and creativity of the original.
This version of Mortal Kombat and techno music is so specifically 90s that it makes about as much sense as remaking Hackers with trashy throwback music that matches the original. Some things are TOO of their time. Even the games have moved on - their soundtracks are just generic atmospheric ambience now with some rock elements to them.
Wallfisch knows orchestral works best, and I think he could keep finding new things in that space. I also think he’s smart enough and skilled enough to give filmmakers something fresh that can break them out of stereotypical thinking. But every time a composer like him doesn’t push back on delivering the Zimmer standard, it just digs the hole deeper.
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Mully IS pretty good though it got a bit typical with the orchestra-swells-crescendoing-into-solo-piano. Solo piano in general I find to be way overused these days.
But at least it wasn’t saturated in reverb (pretty sure production libraries sell this as “Sad Piano”).
Mortal Kombat is weird because I don’t even think the filmmakers knew what it was supposed to be. The original has always been a campy mess punching far above its weight with an epic plot backed by ludicrously bad yet entertaining effects and an of-the-moment soundtrack, so it just kind of works as a guilty pleasure of the 90s.
But this new movie seemed uncertain whether it was satire, homage, serious, a complete joke - like some of the set pieces were straight out of Crouching Tiger-level quality, yet in a Mortal Kombat film where cartoony characters freeze each other with ice beams and yell “Get over here!”
Perhaps you’re right that Wallfisch never had a strong voice - this feels like a film where the composer should have been replaced for not doing what the filmmakers wanted. The EDM thing was a mistake, especially since it’s so inconsistent.
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What a shitty movie, what w shitty score... Quo Vadis, Hollywood ?
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