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publicist last won the day on May 12

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  1. You mean for scorn and headshaking 5 years after the fact?
  2. The Official James Horner Thread

    Is that really worse than, eg, the awkwardly phrased pop choruses here?
  3. 'Splash', really. I'd prefer trashy stuff like 'The Grinch' (or even recent ones like 'Rush# or 'Frost/Nixon') before i watch another award-safe borefest like 'Apollo 13' or 'Beautiful Mind' but at least he has a good idea what music can and should contribute.
  4. The Official James Horner Thread

    That's why it was hardly used at all.
  5. The Official James Horner Thread

    Which in contrast sounds exactly like it was written during a few nap-free afternoons to cash in a million $ pay check.
  6. What Is The Last Score You Listened To?

    One of 2014's (and Howard's) best, chiefly for the reason that - for a comparably large amount of its running time - it eschews sounding like a modern blockbuster scoreTM. While still firmly anchored in that Disneyfied idiom of bright glockenspiels and sweet choruses, Howard manages at least one brilliant set piece - 'Maleficent Flies', linked above - and generally a strong thematic score built on a wonderfully simple-yet-evocative 'destiny' motif for Maleficent's arc that can afford to wander languorously or leaping upwards heroically. You may call it deceptively simple. The score is somewhat uneven (thank you, blockbuster movie) in juggling the fairy-tale, folksy moments (basically the first quarter leading up to the first horrendous CGI/LOTR recall in 'Battle of the Moors') with the heavy dramatics that resort to the kind of sledgehammer writing used to cut through a wall of deafening sound effects (too much of what comes thereafter). The tranquil, peaceful tone Howard establishes for the quieter parts is defeated by this and the last 'big' action cue ('Maleficent is Captured') for a fight to the death with her childhood sweetheart who betrayed her, cutting her fairy wings, that should milk the tragic underpinnings of lost love and trust, just hammers away like a mad percussion drill. It's indeed a shame they composer couldn't cash in on the promise of the Grimm-ian beginning here. But leaving that aside, 'Maleficent' still registers as strong work heavy on all kinds of motivic ornamentation so absent even in this kind of fare nowadays. As is his custom, Howard presents a suite at the beginning that gives the spotlight to a succession of ideas only used briefly in the movie (mainly for a scene where Maleficent casts a spell) that is expanded to dramatic heights and might be an indication where Howard's loyalty really lies (see also: overture to 'The Last Airbender').
  7. The Official James Horner Thread

    Oh, you can, the cooing choruses of syrupy proportions always being the worst, kitschy concession to new age by Horner. But such aesthetic considerations aside, 'Apollo 13' was a very distinctive work, doubly impressive as being another quickly written score in Horner's most busy period in between 'Casper', 'Braveheart' and 'Jumanji'.
  8. What was the last really quotable movie?

    Well, words like 'cunt' just sound so much more flowery in german.
  9. "Monsignor"

    Because it obviously is modeled on exactly that piece. Williams wrote on of his more shifty drama themes and set it exactly like the Rota tune (Godfather Waltz).
  10. John Powell's SOLO: A STAR WARS STORY (2018)

    You honestly watch that stuff for 'entertainment'? Yikes.
  11. John Powell's SOLO: A STAR WARS STORY (2018)

    I don't need talented composers wasting away months on harebrained Marvel garbage. I mean, i don't need 'Rio 4' or 'HttyD 3' either, but there has to be some middle ground.
  12. John Powell's SOLO: A STAR WARS STORY (2018)

    Why punish the guy?
  13. "Monsignor"

    It's a fucking and bleedingly obvious riff on 'The Godfather' (which can be read 'comical', too, of course). But as a tune, it's good.
  14. John Powell's SOLO: A STAR WARS STORY (2018)

    Something like 'Train Heist' perfectly balances old and new - and features actual balance between orchestral sections, for change.