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What the fuck is that fuck? One: he was hiring base on skin color? Why not just go to M.L.K.'s grave and take the piss directly. Good God. Two: I can name off the top of my head without thinking deeply, five!
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Excuse me, but saying "he couldn't find a black composer to save his life" is plain wrong. This is what the article states: "There were disappointingly few in the industry" Peele looked, obviously did not find someone who shared his vision or whom he found compatible with his idea for the film - but he found Michael Abels. Perfectly fine and nothing unusual about it.
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Obviously there's Terence Blanchard, as the most prominent black composer currently working in Hollywood...but just because he's black doesn't mean he was necessarily good casting for Us. Whatever the reason, I'm very glad Michael Abels was brought into the film scoring community. His choral main theme for this score is brilliant. Yavar
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Posted: |
Mar 29, 2019 - 9:16 PM
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By: |
danbeck
(Member)
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Just saw the film. Some great scenes and tension, also some humor in the mix to balance things (but more horror and less humor than in Get Out). The score is very good, I liked this music better than the music of Get Out. The movie, however, have some (or several) logic gaps, even within the absurdity of its premise. It’s being a great box office hit, but I fear Peele will become a new Shimalayan, with the risk of his movies venturing more and more into absurdity and similar formulas till they get completely ridiculous. Some scenes in this one even reminded me of The Happening, and that was not a good thing (Happening being the first Shimalayan movie that I felt was really bad - yes I liked Village and Lady in the Water...). It is not that US is a bad film, it is still very good and has some interesting social commentary, but it is far to be great. This is a score that I for sure will listen a lot. Like Shimalayan/Newton-Howard at least this partnership tends to give us excellent scores.
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