Romão

I'm far from being a true classical music connoisseur, but the main theme seems to take some inspiration from Rachmaninoff's Isle of the Dead. Is it just me, probably being too taken by those undulating strings?

As expected, Dune Messiah is in development https://variety.com/2024/film/news/dune-3-denis-villeneuve-legendary-nuclear-war-1235960990/

Well, I'm biting the bullet, even if the shipping is a bit steep. I really want this to happen

Cavill is a really limited actor, a plank of wood, I really don't think he could pull this off

The OST really is a poor representation of the score. Even the Main Title is a synth mock up. Listen to the expanded score if you can. It makes its operatic qualities much more apparent. I hope a new expanded and remastered edition is in the works

I suppose that role was more of a contractual obligation than any sort of real input in the film's script. To its benefit, I'm sure

I adore all Frank Herbert's 6 Dune books. God Emperor of Dune, the fourth one, might actually be my favorite. Now, the stuff "written" by his son and Kevin J. Anderson, is absolutely god awful

Yes, much more so, although still totally in line with bits and strands of foreshadowing you can detect in the first book

Same thing as the two books, really (Dune and Dune Messiah). Regardless of how Frank Herbert has said that Messiah was always intended as an epilogue for the first book, they still very much feel like separate, distinct (albeit continuous), works. I'm sure the movies will feel the same. It's actually to the stories benefit, I think, if we feel a somewhat pronounced stylistic and tonal change in the 3rd movie

Their only point of comparasion is being landmark works in their respective genres and being quite thorough in their world building (Tolkien even more so, obviously). It ends there, I think

This is one of my all time favorite Goldsmith action tracks:

Thank you so much, that's really great work by @WampaRat

Someone here had posted a thematic breakdown of the first score. Any chance it might be reposted in this thread, so I can get my bearings on the thematic material?

I haven't watched any Marvel show (and the last MCU movie I watched was the first Ant-Man), but I found the score for Moon Knight so cool and interesting, I might actually watch the show one of these days

How's the soundtrack CD?

That looks like a huge pile of shit. After Godzilla Minus One, I don't think I can tolerate this level of silliness in a Godzilla movie, and that's saying something

His recording of A Midsummer's Night Dream is also pretty defitive, in my book. I was also very fond of his Scheherazade, but since that was the version I grew up with, my appreciation for it is probably not completely impartial

This seems to take everything I hated about Afterlife and turning it up to eleven. Hei, remember this thing? Remember that thing?

I would vastly prefer if it was a point and click adventure game

I love the score, specially when dissociated from the movie. I found the treatment of the music in the movie and the demand for constant rewrites to be insulting and demeaning for JW, which had to accommodate the insecurities and indecisiveness of far less talented people in supporting a movie that is frankly, beneath him. And that is all I'm going to say about the movie, since this is the wrong thread for it

This one, although not written for a religious film, is quite spiritual to me:

That's fantastic, thank you so much. This is probably my favorite action/adventure Goldsmith score. It's an absolute powerhouse

Godzilla Minus One I never expected to be so moved by a Godzilla movie. Having become a father recently might have made me much more susceptible to this kind of story, but I was completely taken by the hand by this movie. Yes, it is melodramatic. Yes, it's very sentimental. But the story is told with such sincerity and earnestness, I was completely involved by it and was actively fearing for the fate of the characters in the face of such an overwhelming menace. Never were the monster scenes as effective and captivating as they are here, specially because I was dreading its consequences. You can telegraph the dramatic and narrative beats from miles away, but still, this thing just came together so well, it truly is greater than the sum of its parts. The choice of setting and timeframe was inspired, giving the perfect backdrop and context for the sort of story being told. The low tech nature of most of it really served the story well, specially in the final plan and its execution in the climax, which were absolutely gripping sequences. Good characters, fantastic monster scenes, the scariest atomic breath I have ever seen in a Godzilla movie, good score (with a very well spotted and effective use of the Ifukube stuff) and an actual story to tell, with proper character arcs, as somewhat telegraphed and archetypical they may be. One of 2023's great cinematic surprises. I don't think I can ever watch an American Godzilla movie ever again. The story is so thoroughly Japanese, that all American versions seem to totally miss the point and tone (and indeed, the sillier Japanese Godzilla movies have done very much the same) and come across as vague, diluted copy, a simulacrum, of the real thing.

While I agree about the launch cue, what really elevates the score are tracks like The Dark Side of the Moon. Into the LEM and Master Alarm I also greatly enjoy, although I get sense they're derivative of other Horner scores