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For a film with such a fantastic title, it sure got a pretty boring score. How could a composer who's given a film of this title offer a score that barely rises above "background noise"? Curious on why this guy has fans, I tried his Mission: Impossible score and it was the most generic orchestral romp I'd heard in awhile. I'm listening to some Michael Kamen to wash this out of my ears.
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I’m all for giving attention to underused/lesser-known composers, but I gather this guy’s largely ignored by Hollywood for good reason. All I hear is meandering that barely qualifies as music.
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I’m all for giving attention to underused/lesser-known composers, but I gather this guy’s largely ignored by Hollywood for good reason. All I hear is meandering that barely qualifies as music.
My only response to this is to say that, if this music "barely qualifies as music" to you, I am absolutely delighted that I have completely different opinion to you. Kraemer's music is superb, some of the best being written anywhere right now, ESPECIALLY his M:I score, which I consider to be the best of the entire movie series.
OK, man, don’t go talking crazy here. I was with you until that last part!
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Posted: |
Apr 27, 2019 - 9:55 AM
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By: |
Spinmeister
(Member)
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Yes, it's well orchestrated and nuanced—unlike a good deal of what has been coming off the Hollywood assembly line for far too long—but, at 57 mins., it's also neither novel enough nor various enough to maintain engagement for that duration. Perhaps a 30 minute album re-arranged to shape a more compelling dramatic listen would better sell the composer's virtues. Because, honestly, the soundtrack never really gets past 2nd gear; most of the run time is spent idling in neutral.
Moreover, upon hearing the dulcimer in "The Man Who Killed Hitler" my brain snapped to the use of guitar and harpsichord in Goldsmith's "High Velocity" and, well, I immediately wanted to switch to that more novel and dramatically engaging listen instead (nobody did riveting suspense like Goldsmith). And, to a lesser extent, there are the reverberations of Goldsmith's "Shamus" theme and the delicate writing for harp in Williams's "E.T." which I couldn't shake either.
So, while not an outright dismissal of Kraemer's effort, as a product for listening consumption I think the phrase "life is too short for second (or third) best" kinda applies here, and so…
NP: "Night Flight" from High Velocity
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Right? He should have scored Rogue One, and should be scoring one of the Disney+ Star Wars live action shows too
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Loved this movie - a sad story about yearning and nostalgia and ... hunting a plague-carrying Bigfoot.
Everything about the score is why I listen to film score. The last decade or so has left me unsatisfied to an enormous degree (I wholly blame studios and directors who push for "sound design" underscore or Tarantino who just uses stuff from better properties), so this was like opening up the windows on a spring day to clear out a stale house.
Kraemer should be doing Star Wars, FFS.
Well said!
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Ive not seen the film but that has to be one of the most barking-mad but attention-grabbing titles for a movie ever?
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