I feel like anything Disney is putting out now isn't being made strictly for entertainment purposes but to push an agenda. And instead of original ideas, it's reboots, remakes, and sequels to childhood movies that shouldn't be touched.
I always wonder when someone uses the word 'agenda' if they know what that word actually means.
Of course it has an agenda. That agenda is to make money, like with any cooperation.
I like the samples but it also shows how little his style has changed or evolved in all those years. With Debney you always know exactly what you're gonna get.
I like the samples but it also shows how little his style has changed or evolved in all those years. With Debney you always know exactly what you're gonna get.
Just listened to it and found it a great "early 90's throwback" score in the same style as the first. Thankfully the fears of a sound design/"modern" touches were not confirmed!
It is kind of more of the same (with some expected mickey-mousing scoring) but I still loved to have this kind of thematic orchestral score in a 2022s made for streaming movie.
I like the samples but it also shows how little his style has changed or evolved in all those years. With Debney you always know exactly what you're gonna get.
Not sure what you are talking about. Debney 2022 is pretty different from Debney in the 90s. With Hocus Pocus 2 he very simply is mimicking his style back then. I'm surprised actually he got so close. Usually, composers try to be more different when revisiting something.
If you like Hocus Pocus 1, you'll probably like Hocus Pocus 2. The score, anyway.
I feel like anything Disney is putting out now isn't being made strictly for entertainment purposes but to push an agenda. And instead of original ideas, it's reboots, remakes, and sequels to childhood movies that shouldn't be touched.
I always wonder when someone uses the word 'agenda' if they know what that word actually means.
Of course it has an agenda. That agenda is to make money, like with any cooperation.
Yeah, that post is basically what you hear from every online reactionary over the past decade...any media that doesn't cater to their tastes, exclusively, is part of some vast conspiracy.
I like the samples but it also shows how little his style has changed or evolved in all those years. With Debney you always know exactly what you're gonna get.
Not sure what you are talking about. Debney 2022 is pretty different from Debney in the 90s. With Hocus Pocus 2 he very simply is mimicking his style back then. I'm surprised actually he got so close. Usually, composers try to be more different when revisiting something.
If you like Hocus Pocus 1, you'll probably like Hocus Pocus 2. The score, anyway.
Not surprised, following a temp track is one thing he excels at!
There are some Debney tracks that stand out with the best film music ever written! But a lot tends to get generic, or he's closely following a temp track like he and everybody else did in Orville (which is kind of fun in its own way,). Other times, for instance, the GORGEOUS music from Jungle Book, once you hear that it's the Voyager theme by Goldsmith but with a different melody, you can't unhear it...
Listened to it last night and thought it was pretty good! It's not very contemporary at all, definitely not like I was expecting given his recent statement.
My only complaint is that it does feel perhaps a bit "stripped down". I kind of had a similar feeling about Home Sweet Home Alone; the music was in the same vein as Williams', but left me feeling like something was missing.
There's not a lot of "actiony" material here as there was for the original score. It seems to be more focused on the drama, and I'm assuming that completely has to do with the film itself (that's certainly the vibe I got from the trailers). Although I will say there is only 45 minutes of score on this album, so I presume there's probably a lot of unreleased material.
Overall it's a good, solid score, especially compared to most of the crap that most films have these days.
Solid orchestral effort, totally unlike most of the market nowadays, but I'm only picking up a couple of tracks. Most of this material was done better in the first score.
At least, I think so. The pretty eight-note melody that dominates the latter three minutes of "Sarah and Mary Disappear" seems massively familiar, but I don't remember any tender material associated with the witches in the first score (because in 1993, child-luring, soul-stealing witches were, you know, bad). I'm certain I've heard this tune before, and I could have sworn it was Debney, but it's not in any of the tracks I own from Emperor's New Groove or the Almighty movies, which were my first two guesses. Anyone recognize this? Check it out at 2:17.
I can also hear a tiny little hint of "Carol Anne's Theme" from "Poltergeist," maybe? Not that it's 1/10 as good, but maybe that was in the temp track.
I was going to say a whiff of Carol Anne's theme, too.
I also got the "Carol Anne" vibes, but this theme was already in the first movie (it is one of the first movie’s main themes and can be heard on several tracks like “Max And Dani”, “Resurrection” and the “End Credits”) [which does not exclude the temp track possibility]. It is associated with family/siblings as it is used for the brother/sister Max and Dani, for the Resurrection scene where the brother turned to cat rejoins his sister and, in the new film, when the Bette Midler character decides to rejoin with her sisters.
