 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I’m fairly conservative in my taste. My heroes are Williams, Goldsmith, and Broughton, but I am open to some contemporary trends. I dare you to listen to the final track and tell me it doess not have melody. And that melody is found on other cues as well. It isn’t developed to any great extent, though.
Here, I'll make it easy for you:
Pretty. But it seems to be repeating cords and it doesn't really go anywhere. This is the huge difference between Williams, Goldsmith and say Djawadi or Giacchino.
(Though I've likes some of Giacchino's recent scores.)
Of course, I’m not claiming that he is in that league. Honestly I would be the last to defend him. I was just trying to point out that this score is not without melody.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Mar 22, 2020 - 1:25 PM
|
|
|
|
By: |
Hurdy Gurdy
(Member)
|
With all this extra time on our hands, I've taken to delving into a stack of film music CDs I'd picked up from various sources, for a buck or two, in the past, and giving them a spin.
This one got a rotation today and I was pleasantly surprised by how nice it was.
Yes, it's mainly a 'modern programmed' score, but the main theme is charming enough and the choir and electronics often add a nice contrasting layer to proceedings.
The early score tracks were nice and track 16 really stood out to me and the last few tracks were the strongest of the bunch. I was humming the melody by CDs end.
Of course, it's not in the John Williams or James Horner league, but taken on its own merits, it's much better than I ever would have expected it to be.
|
|
|
|
|
|
|
|
|
Posted: |
Mar 26, 2020 - 6:52 AM
|
|
|
|
By: |
Hurdy Gurdy
(Member)
|
Really enjoyed this CD via another spin today.
I think James' review is VERY harsh.
It's no more 'a melody a child would write' than similar themes I've heard in Horner's AVATAR, Silvestri's READY PLAYER ONE and Badelt's TIME MACHINE, to which it shares a certain execution.
And I think haines just means it doesn't sound like Franz Waxman or some other dead dude.
It's nice and uplifting when it needs to be.
It's sad and heartfelt when required, too.
The only place it stumbles for me is in the action or suspense sequences, where it becomes the dull Zimmer-like programmed drones that pass for such these days.
I'd urge others to give this another go.
Tracks 8, 10, 11, 14, 15, 16 and 20-22 are all very enjoyable to me*
If you don't believe me, listen to Kylo and the Doc 
*in fact, that's my whittle edition right there.
|
|
|
|
|
|
I’m with you, Kev.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
