Morlock

Saw The Green Hornet. Damn, that was boring. Nice use of the 3D though- for a change, here is a 3D movie that is lit bright enough for me not to want to remove the glass every 2 minutes. Loved the simple idea behind the split screen sequence. But a very weak script- almost no spark in there.

Rocks it the throne of THE RED SHOES? No reason for that- I wouldn't dare suggest such a thing.

I just don't get what's so relevant about the film. It's set in a time and place that should be very relevant...but Fincher and Sorkin seem to be interested in making talking heads interesting and finding every way in which this story is NOT unique, only going for whatever makes it universal and archetypal. It's a good film, but I really am not getting the transcendence people are seeing in it. I disliked the Grieg scene the first time I saw the film- felt needlessly showy. The second time I liked it a bit, because then I realized that the Winklevi were the most interesting story thread in the film (IMO, If this film works in any big thematic way, it's as a movie about class). I do wish I hadn't listened to the score- it was better remembered than listened to.

Oh she was very good, don't get me wrong...it's just that The Wrestler had nothing going for it beyond Rourke, while Portman's performance in Black Swan -fine as it is- is a distant second to Aronofsky's insane and histerical vision.

The performance isn't as solid, but the film is far, far, far better than The Wrestler. I would not call Black Swan an actor's film, while The Wrestler was only an actor's film. This new one is a director's film if ever there one.

He's not a great director to me, but Valkyrie was good entertainment, an all around well-mounted piece. Good enough script, great cast giving fine performances, handsome looking, well paced, well edited. And particularly for the end of 2008, when it came at the end of so many throat grabbing holocaust movies, that it's cool, efficient, good-enough demeanor was a welcome respite. Nothing great (although there is one absoltely fantastic reveal towards the end), but I found it to be rock-solid middle-of-the-road entertainment.

Saw Black Swan. I'll not beat around the bush- I loved it. I almost can't believe it, as I had no reason to think I would care for it. But after the hum-drumness of the last film-going year, and after being outside the Social Network love fest, this piece of bat-shit insanity was just what I needed. Morlock- who loves loving a film he was so, so skeptical of. Morlock2- who has officially started taking Darren Aronofsky seriously as a filmmaker

Hey now, Valkyrie was good.

Ditto on all points. The story is the purest example of video-game infused storytelling I've seen.

I liked it a little.

That's nonesense. There is NOTHING new about the score. It is scoring lonliness and lack of connection. That is the only thing it is doing. Doing it well, achieving the boring points Fincher and Sorkin wanted. My problems with this score are far less about how musical it is, but what it is about. This score is about a sad, cold, modern world where people don't connect. It is more musically interesting than something like Michael Clayton, and actually develops some character at times, and may have seemed sublime if I liked the thought behind it...but there is nothing new here.

I recall being quite taken with the second film. Can't recall why, though. Never a fan of the first one, and, upon seeing it recently, I realized what a shoddy piece of work it really is. At least the movies have some some sense of someone putting thought into them, though, as opposed to the films Marvel is making now.

Revenge of The Sith. It's been a while since I listened to a JW score (my collection being in storage and my heard-drive dead) and this one sure his the spot. I think the presentation of the first track in particular is one of JW's best moves as producer.

All of this is besides the point, as the first Spiderman is a crappy entry in a crappy series.

Solid list! At least all of them are actually film scores.

Well, he's certainly hip. Nothing in there is laudable in and of itself.

I would mind it if it were a dignified event. But at last, people treated the Golden Globes with precisely the amount of respect and gravitas they deserve. I also liked Deniro's speech, despite the fact that he had troulbe reading it and that too-strange-too-be-controversial deportation comment.

It had two terrific scenes.

Wow...a moderator approved discussion!

I think the did a very good job with Fincher's directions. Unfortunately, like much of the film, the score suffers from the filmmakers' delusions about the film. Well executed but ill-conceived.

Rydstrom's work is just as good, if not better, and without sacrificing the score.

He seemed fine with Giacchino on Star Trek- it's that damned Williams he can't stand.

Indeed, I would describe Alex as neither cynical (would a cynic go ape-shit for Zack Snyder?) nor unlikeable as a human being (though he can be a bit unreasonably persistant at times).

I started concocting a dream team...but there are simply too many great talents. Only one I remained adamant about was Skip Lievesay for sound...though I'd accept Rydstrom if push comes to shove.

It's still not what sticks out for me in that score, and not what defines it, whereas that is the most striking element of Casino Royale.