I made it halfway through the soundtrack. For all of Tyler's talk about how thematic it is, most of the score passes by in his usual comfort zone, long string pads not saying much of anything.
Alas, this didn't do much for me. Brian Tyler speaks on Facebook about this being a very personal project, but I don't find the same kind of intimate connection that I do his wonderful 2013 score STANDING UP -- his best score to date, IMO. There are still too many "trailerisms" going on. I do like the broad, Vangelis-like sounds, though.
I haven't heard a "personal" Tyler score in a long time. The guy commercialized himself around 2010 and his music just turns more and more soulless.
Oblivion is an epic, gorgeous, thematic score. Yes, it has electronics in it, but is that reason enough to dismiss it? Of all recent scores, I find it bizarre to hate that one. It was my favorite score of that year.
Yeah Oblivion is much better than this score. Also Jablonsky's Transformer scores are much better as well. But this score isn't as bad as people say it is. It was never unpleasant, but not always interesting. It has its moments, especially the first half of the score. Ultimately it never got away from the typical modern day thriller score label.
As I said a few posts up - STANDING UP remains his best score, and I wouldn't be surprised if it was intimate and personal for Tyler too (I don't know; I've never heard him talk about it). That's 2013, so three years after 2010.
I haven't heard a "personal" Tyler score in a long time. The guy commercialized himself around 2010 and his music just turns more and more soulless.
Have you listened his soundtrack for 2018 movie "Crazy Rich Asians"? If not, have a try. Its have a soul, and it's one of the most unusual Tyler's works (where else can you hear pure jazz music from Tyler?) that deserves more attention than all of his blockbusters music.
I enjoyed some of Tyler's earlier scores like CHILDREN OF DUNE & ANNAPOLIS & TIMELINE (I really like the Love Theme and the solemn march in that one) and STANDING UP is really nice, as Thor says (if that's the one with THE NATURAL/COCOON-like main theme?). The stuff I've heard from him in these latter years has been really dull and generic and almost Remote Control-like. No heart or soul at all to my ears. I did like parts of NOW YOU SEE ME from some years back too. I've stopped paying attention to his stuff over the last few years, if I'm honest.
I enjoyed some of Tyler's earlier scores like CHILDREN OF DUNE & ANNAPOLIS & TIMELINE (I really like the Love Theme and the solemn march in that one) and STANDING UP is really nice, as Thor says (if that's the one with THE NATURAL/COCOON-like main theme?). The stuff I've heard from him in these latter years has been really dull and generic and almost Remote Control-like. No heart or soul at all to my ears. I did like parts of NOW YOU SEE ME from some years back too. I've stopped paying attention to his stuff over the last few years, if I'm honest.
I think RAMBO was the turning point for me. I literally don't get how anyone could write boring Rambo music after the template set in the original 3 movies. After that I started hearing the same overblown - yet similarly boring - stuff across his other scores. He has moments of greatness (and early stuff like Darkness Falls and The Hunted is terrific) but I approach everything from him nowadays with caution...
Yeah, I remember being really disappointed when I heard his Stallone scores. I was underwhelmed by THE EXPENDABLES scores too. That recent horror score sounds decent though (linked in the other thread).
Yeah, I remember being really disappointed when I heard his Stallone scores. I was underwhelmed by THE EXPENDABLES scores too. That recent horror score sounds decent though (linked in the other thread).
Indeed. His Expendables scores were incredibly disappointing.
I haven't heard a "personal" Tyler score in a long time. The guy commercialized himself around 2010 and his music just turns more and more soulless.
Have you listened his soundtrack for 2018 movie "Crazy Rich Asians"? If not, have a try. Its have a soul, and it's one of the most unusual Tyler's works (where else can you hear pure jazz music from Tyler?) that deserves more attention than all of his blockbusters music.
Yes I listened to CRA and I got the same feeling. Same with Clouds. Mostly brains, a bit of heart. Technically proficient, but there is a layer of coldness to it. He is like a artificially intelligent jukebox that churns out music based on key inputs.
Yes I listened to CRA and I got the same feeling. Same with Clouds. Mostly brains, a bit of heart. Technically proficient, but there is a layer of coldness to it. He is like a artificially intelligent jukebox that churns out music based on key inputs.
Indeed, well put. I never understood what people saw in this film or score either. In fact, I couldn't even get through the film/album.
His love theme from "Crazy Rich Asians" is one of the best love themes of the past few years, IMO. It starts at the 1:17 mark:
I have to disagree. When I listened to that, I hear a non-descriptive melody with very little emotional weight. it is not romantic at all to me. I am not swoon by it. It is like he was writing it to pass a music proficiency exam.
I know we all hear and filter things differently, but listening to that suite above, it sounds like a computer based program of some 80s James Horner scores (Cocoon, Batteries Not Included). I can hear real heart and soul in the Horner ones (even if he was just riffing on other stuff) whereas that has no heart and soul whatsoever. Just cold, clinical performing.
His love theme from "Crazy Rich Asians" is one of the best love themes of the past few years, IMO. It starts at the 1:17 mark:
I also like this theme in particular and the whole album more, than his action and blockbusters scores in same period (around 2015-2018). Jazz elements are also the highlights of this album for me.
I know we all hear and filter things differently, but listening to that suite above, it sounds like a computer based program of some 80s James Horner scores (Cocoon, Batteries Not Included). I can hear real heart and soul in the Horner ones (even if he was just riffing on other stuff) whereas that has no heart and soul whatsoever. Just cold, clinical performing.
Honestly, I don't hear anything what you (and some people above) described. Strange, but I speak the truth.
Just finished the movie and really enjoyed it. The score was… there? Serviceable I guess? Nothing really memorable or outstanding.
Just finished the movie as well. I thought it was pretty bad. Like everything has been done before. Doesn't even come close to the atmosphere and tension as Sheridan’s other frontier films, like Wind River. The plot is absolutely ridiculous.
