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It's not slow like trailer slow, it's still fast, just a more indie version of the Ramones song.
The score doesn't sound amazing from what I've heard of it so far. I need to go to the few non-horror tracks, though.
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Admittedly disappointed, as I actually found the Sinister album really interesting. This one, not quite as much. Still, it is an intriguing work, and it's appreciated the score rarely gets loud, in favor of (as always for Young even on a lesser work) building up an atmosphere that creeps up on you. The family theme's lovely too in all its appearances.
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I think you fellas owe Thor an apology for daring to warn us as to how underwhelming this indeed came out to be. 
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Just got back from this waste of time remake/redo.
While it's obviously slicker and shinier than the old 89 edition, it's lacking that 'chill in its bones' feeling that the Mary Lambert one had.
Those Zelda flashbacks in the original really goosed me, while the changes to her in this one are more laughable.
And don't get me started on the new ending! ! Fkn ridiculous.
And why in the name of fuck would you hire someone like Christopher Young to do your music and then just ask him to deliver something Balfe or Jablonsky or ANY midi guy could do in his sleep.
Complete waste of time.
Shoulda went to see DUMBO or SHAZAM instead 
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I wouldn't be surprised if The Empty Man turns out to be the more compelling Chris Young work this year.
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Hey spook, I'm 'old school' Chris Young, so I adored that tragic/haunted vibe he would give things like FLY II & HAUNTED SUMMER and such.
I've not been a huge fan of his latter horror efforts and (I dunno why) imagined the directors had tapped him to add some real heart and emotion to proceedings.
While watching the film, if I hadn't already known, I'd have been hard pressed to guess who the scorer was.
Half the time it was hard to separate the sound design/FX from the score.
Even the gentle piano stuff at the beginning made no impact on me whatsoever.
I suppose it didn't help that I found the film to be a cold, uninvolving bore.
At least Goldenthal had the sense to channel Schifrin back in the days of old, when horror composers were allowed to express themselves so much better.
Let us know what your thoughts are when you've seen the film (you are going, aren't you?).
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I found the film to be a cold, uninvolving bore.
I've never read the King novel, I don't recall ever watching the '89 film, and Goldenthal's score is too derivative of superior efforts that I've never been inclined to play it a second time.
But ditto your reaction.
The characters in this film are little more than mannequins trudging along a paint by number misery parade, so instructing Young to up-sell empathetic detachment over visceral thrills is fundamentally counterproductive to fostering or sustaining audience engagement (that would be me).
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Posted: |
Apr 9, 2019 - 9:43 AM
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By: |
CCW1970
(Member)
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Even putting the outright thievery of The Amityville Horror aside, Goldenthal's Pet Sematary score is only okay.
Given how close that main title is to Amityville, I was shocked when Fincher hired Goldenthal for Alien 3, and even more shocked when over the years he turned out to be a really top-notch composer. I miss having his musical voice in the mix of contemporary cinema (though to be honest, I haven't listened to his Midsummer Night's Dream yet. Hope they can record Grendel someday).
I thought Michael Collins was particularly good, and I'm still weirdly proud that there's a movie that has both my (real) name and his in its opening credits (though hell, that movie has everyone from Nigel Hawthorne to Rob Schneider involved).
Scott, if you're an Amazon Music Prime member, Goldenthal's Midsummer's Night's Dream is available to stream (as are several of his concert pieces, and scores).
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Posted: |
Apr 9, 2019 - 10:23 AM
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By: |
CCW1970
(Member)
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Part of the charm (that's so not the right word) of my memories of the '89 version was seeing it, with a mate, in a dirty, seedy cinema at the arse end of Hollywood Blvd during that summer.
You know the way it's all nice and clean and movie magic at the Chinese Theatre end and then, a few blocks further down, it just turns rank! The cinema was around there. It was the only place it was playing. It was a late afternoon showing and there were drunks and down-n-outs milling around everywhere.
That rancid atmosphere actually added to the dread feeling of the film and amplified it by about x20.
So the film was probably more scarily effective to us just because of the viewing circumstances.
Plus, the Zelda sequences really spooked me out!!
I'd never say the original film is a classic, or even a very good film, but it does hold a certain atmosphere to me and is way more faithful to the book and all the more effective for it.
I moved here in early 1996 and Hollywood Blvd. still had some of that vibe. I recall spending a lot of time in that area the first six months (I lived a couple blocks south of the Chinese theater). I think I know what theater you're referring to. Is it the one a couple blocks east of the Chinese, on the south side of the street? I think it was converted to a church for a brief spell.
I agree about the atmosphere of the Lambert version. Another factor was getting one of the cutest young actors to pay the boy. "No fair, dad. No fair." Alas, the rest of the cast (apart from the one everyone's correctly mentioned, Ed Gwynne), are mediocre to terrible.
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Posted: |
Apr 10, 2019 - 4:11 AM
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By: |
Hurdy Gurdy
(Member)
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If the South Side is the one over the road from Chinese Theatre side, then yes, it was there and yes, it sounds right about where you're describing.
I know the passing of years adds many veneers of heightened emotion to memories from the time ago (and my word, this was 30 years ago!!! I was only 24), but there really felt like a hostile, alien atmosphere in the area. People around only seemed capable of shuffling. The cinema felt spent, the auditorium was 'past it's best' and there was only a handful of people in there.
Also, I remember a door near the back of the auditorium kept banging infrequently, which kept me on edge throughout and being a young buck in a foreign country, my survival awareness/senses were ultra heightened too.
It's funny, we both came out thinking we'd just experienced one of the most frightening films since The Exorcist, and banged on about how terrifying the film was, when we got back home to England, to almost everyone we knew.
Suffice to say, when said people finally saw the film (based on our rave reviews) they all generally proclaimed it to be a (not so scary) bag of sh!te.
I guess you had to be there (as the saying goes)
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Posted: |
Apr 10, 2019 - 9:49 AM
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By: |
CCW1970
(Member)
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If the South Side is the one over the road from Chinese Theatre side, then yes, it was there and yes, it sounds right about where you're describing.
I know the passing of years adds many veneers of heightened emotion to memories from the time ago (and my word, this was 30 years ago!!! I was only 24), but there really felt like a hostile, alien atmosphere in the area. People around only seemed capable of shuffling. The cinema felt spent, the auditorium was 'past it's best' and there was only a handful of people in there.
Also, I remember a door near the back of the auditorium kept banging infrequently, which kept me on edge throughout and being a young buck in a foreign country, my survival awareness/senses were ultra heightened too.
It's funny, we both came out thinking we'd just experienced one of the most frightening films since The Exorcist, and banged on about how terrifying the film was, when we got back home to England, to almost everyone we knew.
Suffice to say, when said people finally saw the film (based on our rave reviews) they all generally proclaimed it to be a (not so scary) bag of sh!te.
I guess you had to be there (as the saying goes)
Wow. That's quite an experience. Definitely sounds like the same theater I'm thinking of (also a couple blocks west of The Egyptian).
I can only imagine how the atmosphere added to the screening, particularly the banging on that door! Plus, Goldenthal's music was darkly beautiful and unsettling (even if the theme was cribbed from The Amityville Horror.
Yeah, Hollywood Boulevard was definitely different in the 1980s, and even in the mid 1990s when I moved here.
One of our audio engineers here at Fox Sports started in music recording, and had some great stories about that area when he worked at places like the Record Plant, Sunset Sound, and Ocean Way (e.g., crazy street people, colorful "working ladies," a couple of murders nearby, including a serial killer victim).
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