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 Posted:   Jan 20, 2020 - 4:03 PM   
 By:   Spinmeister   (Member)

A complete wash, its box office is (fittingly) 6 miles underwater too. I don't know why they even bothered releasing it (other than perhaps as a write-off).

Beltrami's music cum sound design score is perhaps it's only asset, particularly the use of the organ not organ, but that's still not saying very much, because it's ultimately as shallow an emotional journey as the film itself.

 
 
 Posted:   Jan 21, 2020 - 6:56 AM   
 By:   Ado   (Member)

A complete wash, its box office is (fittingly) 6 miles underwater too. I don't know why they even bothered releasing it (other than perhaps as a write-off).

Beltrami's music cum sound design score is perhaps it's only asset, particularly the use of the organ not organ, but that's still not saying very much, because it's ultimately as shallow an emotional journey as the film itself.


what an inglorious end to the 20th Century Fox studio, this was the last movie released under that name.

 
 Posted:   Jan 21, 2020 - 8:07 AM   
 By:   mastadge   (Member)

I like this score okay but why in the world do the main and end titles just stop instead of ending? I assume it fits in the film but on the score it's jarring, and not in a good or interesting way, feeling more like a ripping error.

 
 Posted:   Jan 21, 2020 - 2:40 PM   
 By:   Spinmeister   (Member)

I like this score okay but why in the world do the main and end titles just stop instead of ending? I assume it fits in the film but on the score it's jarring, and not in a good or interesting way, feeling more like a ripping error.

No kidding.

Beltrami builds this suitably portentous atmosphere in "Voyage to the Bottom of the C" and "Under the C" that climax with a succession of ominous chords one only naturally expects to resolve in a decrescendo, but instead he slams down the lid as if though his mother had just walked in on him watching porn on his laptop.

 
 Posted:   Jan 23, 2020 - 6:31 PM   
 By:   Steve H   (Member)

Managed to catch this film last night despite it being a bit of a struggle finding somewhere it was actually showing. (How does a film make it at the box office if they refuse to show it?)
I throughly enjoyed it for what it was. Despite the obvious Alien influence It probably owes a tip of the hat to 1989 and the wave (no pun intended) of similar films released The Abyss, DeepStar Six and Leviathan. You could probably throw Deep Rising in there as well.
But gee... wither Jerry Goldsmith! This is exactly the type of film he could score in his sleep. All due respect to Beltrami and co but I think if you removed the score from the film I doubt my experience of the film would be any different. I know films aren't scored that way now for whatever reason but boy did I miss some of that old Goldsmithian Terror, Terror, Absolute Terror! in the score.
I didnt really notice the score at all apart from the titles and a short section later as Kirsten Stewart is trudging her way across the ocean floor. Most of the score is more sound design than anything else.
Its a shame we dont get scores like those former mentioned films anymore but I guess as the saying goes..It is what it is!
Anyway, I still thought it was a pretty good film.

 
 
 Posted:   Jan 23, 2020 - 9:29 PM   
 By:   DavidOC   (Member)

Beltrami's one of my absolute favourite composers but listening to this score (out of context admittedly) I think it's one of the weakest of his career. Bland, uninventive sound design. I actually couldn't make it all the way through.

Also, I can't stand this recent trend of his scores mostly being co-written with others - nearly all of which have been (coincidentally?) mediocre. Does he even write anything independently any more?!!?

 
 
 Posted:   Jan 24, 2020 - 1:41 AM   
 By:   Kev McGann   (Member)

That's the sad thing.
We all wish our favourite composers of yesteryear could score these types of films these days, but I imagine even if the likes of Bruce Broughton, Lee Holdridge, John Scott, Cliff Eidelman (insert YOUR composer of choice) had got this gig, ANY attempt to deviate from the 'sound design' template would have been shot down.
I'm always reminded of Chris Beck saying how EVERY attempt he made on EDGE OF TOMORROW to try and work in some theme or melody or motif was nixed all the time, in favour of that cold, unemotional vacuum of sound that passes as film score these days frown

 
 
 Posted:   Jan 24, 2020 - 2:25 AM   
 By:   SoldierofFortune   (Member)

Beltrami's one of my absolute favourite composers but listening to this score (out of context admittedly) I think it's one of the weakest of his career. Bland, uninventive sound design. I actually couldn't make it all the way through.

Also, I can't stand this recent trend of his scores mostly being co-written with others - nearly all of which have been (coincidentally?) mediocre. Does he even write anything independently any more?!!?


The Emperor of Paris, mediocre?

Listen that score and said that again.

 
 
 Posted:   Feb 12, 2020 - 5:01 AM   
 By:   Kev McGann   (Member)

This film opened in the UK last Friday.
And it closes in the UK tonight!!! (well, in Liverpool, at least).
So I'd better get me skates on if I wanna see it at the cinema!!!

 
 
 Posted:   Feb 12, 2020 - 5:02 AM   
 By:   Thor   (Member)

Annoyingly, it won't get a theatrical release in Norway, for whatever reason. Guess I'll have to sit patiently and tap my fingers untill it gets released on some streaming service in half a year or something. A shame, because it was one of the films I looked forward to the most this year.

 
 
 Posted:   Feb 12, 2020 - 7:46 AM   
 By:   SoldierofFortune   (Member)

Actually, i was able to see the movie in my country.

It was entertaining, well-paced and good visuals, and the music growth on me since i saw the movie in the theatre.

 
 
 Posted:   Feb 13, 2020 - 2:41 AM   
 By:   Kev McGann   (Member)

Well, I saw this last night, before it disappeared forever from the Silver Screen.
It's not terrible, just very run of the mill and you feel you've seen it all before, either in other underwater thrillers (THE ABYSS, SPHERE, DEEP RISING, LEVIATHAN, DEEPSTAR SIX) or outer space ones (ALIEN, OUTLAND). They all came to mind while watching this.
It's well made and the characters aren't horrible, so that was nice.
K-Stew exudes a certain sexual attraction (often running around in her skimpies, ala Ripley, with her well-toned body), despite her best efforts to look like a teenage boy!!*
What this film would have REALLY benefited from though, would have been a musical score in line with the above noted films.
The beeps and bloops and throbs and static feedback sound design it gets robs the film of any real emotional impact.
I really hate this modern day scoring sound. It's just dead in the water (pun intended).

*and PLEASE don't read into that, that I have a sexual attraction to teenage boys!!! wink

 
 
 Posted:   Feb 13, 2020 - 3:01 AM   
 By:   Thor   (Member)

Well, I saw this last night, before it disappeared forever from the Silver Screen.
It's not terrible, just very run of the mill and you feel you've seen it all before, either in other underwater thrillers (THE ABYSS, SPHERE, DEEP RISING, LEVIATHAN, DEEPSTAR SIX) or outer space ones (ALIEN, OUTLAND). They all came to mind while watching this.


Yes, I don't expect it to be anything more than that. But it's my favourite genre of movies, and I could watch endless carbon copies of this premise. But also, I'm a fan of director William Eubank. His LOVE is excellent (an existential drama set on a space station), as is THE SIGNAL. Both of those have had a more 'arty' angle, perhaps, so I'm very curious to see him in a more straightforward genre film, much like Rian Johnson or Gareth Edwards when they moved from visionary indie sci fi like LOOPER and MONSTERS to STAR WARS and GODZILLA and whatnot.

 
 
 Posted:   Feb 13, 2020 - 3:33 AM   
 By:   Kev McGann   (Member)

It reminded me of that recent space thriller LIFE.
Another well-made, but highly derivative film.

 
 
 Posted:   Feb 13, 2020 - 3:34 AM   
 By:   SoldierofFortune   (Member)

It reminded me of that recent space thriller LIFE.
Another well-made, but highly derivative film.


But tremendously entertaining

 
 
 Posted:   Feb 13, 2020 - 3:41 AM   
 By:   Kev McGann   (Member)

Yes, I did enjoy LIFE.

 
 
 Posted:   Feb 13, 2020 - 3:45 AM   
 By:   Thor   (Member)

LIFE was fun, true, but I'm expecting UNDERWATER to be a TAD more visionary in its mise-en-scene and execution. After all, Eubank is in a whole other league compared to the more craftsman-like Daniel Espinosa (CHILD 44 was a disappointing affair, while his Swedish breakthrough film SNABBA CASH was kinda fun, but mostly in a tongue-in-cheek way).

 
 
 Posted:   Feb 13, 2020 - 3:49 AM   
 By:   Kev McGann   (Member)

It sounds like you've already decided on this one, Thor.
Personally, I didn't experience THAT MUCH DIFFERENCE between these two films.
Both are highly derivative, competently made monster thrillers, that pass the time well enough (both run about 95 minutes IIRC) but offer nothing really new to the genre.
And both could have done with a bloody good music score to bolster proceedings and add another star to their marks.

 
 
 Posted:   Feb 13, 2020 - 5:03 AM   
 By:   Kev McGann   (Member)

I'd love The Mutant to edit/add in some of Goldsmith's LEVIATHAN or OUTLAND score to this film on YouTube (when it's available), just to see how extra charged some sequences would have been, with a proper score lending it support.

 
 
 Posted:   Feb 13, 2020 - 2:22 PM   
 By:   Simon Underwood   (Member)

Finally got to see this a couple of hours ago, and had a real blast with it! It's a great ride, and I got far more into it than I expected to going in. Kristen makes such a great, grounded lead, and it didn't play out as predictably as I would have guessed. Yep, really really happy I decided to see it now rather than wait for home viewing.

I probably wouldn't buy the whole score, but there were three pieces in the latter half of the film that really worked and stood out for me, including what I now find is "Shake It Off" - it felt like the synths were ready to turn into the loop from Baba O'Riley at one point. So I'll probably selectively buy the downloads.

 
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