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Kasey Kockroach

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  1. Like
    Kasey Kockroach reacted to Faleel in John Powell's MIGRATION (2023)   
    This is out of order, here is as intended:
     

  2. Like
    Kasey Kockroach reacted to Thor in Jurassic Park 7, written by David Koepp   
    He doesn't intrigue me, I'm afraid. Leitch seems like a run-of-the-mill journeyman director. Can't discern any particular trademarks or interesting aspects. Then again, so is Joe Johnston and Colin Trevorrow. The only exception was Bayona, but his trademarks were mostly eaten up by the franchise machine (except, marginally, in the gothic haunted house last act). I don't expect the post-Spielberg JURASSIC PARK movies to have the same auteur stamps as the ALIEN films or anything, but a slightly more interesting director would have been preferred. Gareth Edwards would have been great. Or old-school action auteurs like Paul W.S. Anderson, Neil Marshall, David Twohy....or, for a woman, Kathryn Bigelow.
     
    But we'll see. The proof is in the pudding.
  3. Haha
    Kasey Kockroach got a reaction from Edmilson in John Powell's MIGRATION (2023)   
    Jurassic Park’s end credits do not play twice in the film (missed opportunity, Spielberg you hack).
  4. Haha
    Kasey Kockroach reacted to Edmilson in John Powell's MIGRATION (2023)   
    John Williams would like a word with you... 
  5. Like
    Kasey Kockroach got a reaction from enderdrag64 in John Powell's MIGRATION (2023)   
    It’s more that I like seeing film score fans be made, given what a niche interest it is. Sure, we notice and appreciate music, but imagine a NORMAL person noticing these things!
  6. Haha
    Kasey Kockroach reacted to Jurassic Shark in Danny Elfman's BEETLEJUICE BEETLEJUICE (2024)   
    Or a prequel named .
  7. Confused
    Kasey Kockroach got a reaction from CuriousMan in Do you understand Star Wars?   
  8. Like
    Kasey Kockroach reacted to Jay in What Is The Last Score You Listened To? (older scores)   
    Latest physical CDs opened up and listened to:
     
    James Horner - Sneakers (La-La Land)
     
    Wow. I  listened to the OST album disc one day, and it was great.  I listened to the new main program disc another day, and it was also great.  I prefer the new main program, it has excellent flow and not a dull moment.  Also the chronological order means the big moments hit at a better time.  You gotta play disc 2 though for Marsalis going wild on the sax in the SNeakers Theme Alternate!
     
     
    John Powell - How To Train Your Dragon 3 (OST)
     
    Wow!  I was blown away by how good this score is.  While 2 spent a lot of time giving us (GREAT!) new renditions of many Film 1 themes, this score uses them more as cameos at just the right moments, and is largely made up of (wonderful!) new material.  And such GREAT work from the choir!  I can't wait for next month's Deluxe Edition!
  9. Like
    Kasey Kockroach reacted to Richard Penna in John Powell's How To Train Your Dragon (3): The Hidden World   
    I'm listening to a track from #3 that had always passed me by a bit, Killer Dragons and it again struck me, that given what is probably some music under some dialogue with something happening at the end, Powell can compose 5 minutes of music that gives his baddie theme a complete workout with some other theme going on undernearth, and then build up to magnificently end the cue with another couple of themes, switching tempos the entire time, and in this cue, even bits of different themes popping in. You can barely keep up!
     
    By the time the cue switches at 4:15 I was practically cheering inside for the quote at 4:30 to do a full statement because it feels like we've earned it at the end of 5 minutes of building Grimmel music.
     
    There are times with Williams when I see you guys gushing over something I don't really get (usually his older stuff) but this is one franchise where I'm in awe at how much musical inspiration and sheer thematic detail one composer can achieve.
  10. Like
    Kasey Kockroach reacted to Jay in John Powell's How To Train Your Dragon (3): The Hidden World   
    Wow.
     
    WOW!
     
    Super late to the party here, but I finally opened up and listened to my physical CD edition of this album today.  I don't recall if I ever listened to it on Spotify back in 2019 or not.
     
    What a great score!  I don't know if it hits me the same way HTTYD2 in terms of that one striking me as a perfect sequel score.  This is something different, but maybe even better.  The old themes soar to new heights, and the new material is like, ALL really good.
     
    Although, I thought it was kind of funny that one of the new themes reminds me of Williams' Imperial theme from the first Star Wars movie (which Powell had just used right before doing this score, in Solo), and another one reminds of Owen's raptor squad theme from Jurassic World (gotta be a coincidence).
     
    I almost can't even say what tracks are highlight tracks, since there's just so much good stuff throughout the ENTIRE album! (Well, except for the final track with the Jonsi song.  Yikes!)
     
    I think the track that left the biggest impression on first listen was "Once There Were Dragons", which acts like like a great concluding track for the entire trilogy, really.  Amazing work.  There's so many other highlights of course... Exodus, Third Date, The Hidden World.... wow.
     
    My anticipation for the Deluxe Edition has now skyrocketed.  How cool that it was announced only 3 years after the film came out?  I wish every score I loved could get expanded so quickly!
     
    I'm poking through the whole thread now as I give the OST album a second listen.  I had completely forgotten that there was a suite track released digitally that wasn't on the physical CD edition.  I'll check it out when I'm done!  I wonder if the exact same suite will be on the DE, of if its component parts will be scattered in different places on the DE...
  11. Like
    Kasey Kockroach reacted to thestat in Robert Folk's ROCK-A-DOODLE (1991) - NEW! 2024 Movie Score Media (digital) / Quartet Records (CD)   
    Amazing that this is coming out. Robert Folk is THE most underrated composer since he never had the resurgence that McNeely had with Orville or Debney had with Gibbo's nuttery.
     
    He is in the same league of composers who can do absolutely everything and do it brilliantly. Man, if silly production allocations had not taken place he would have scored Goldeneye instead of Serra - he was hired for it. Imagine this instead of the grinding synth pop that Serra produced (and nothing against old Eric, his work on Joan of Arc is amazing):
     
     
  12. Like
    Kasey Kockroach reacted to Marian Schedenig in What Is The Last Score You Listened To? (older scores)   
    Because narrative musical genres (like opera, ballet, and stage and film music) have less form - the "classical" version of "listening experience" - than traditional "pure listening" types of compositions like symphonies and concertos. For a classically trained composer like JW, that's probably more relevant than many other factors. It's also one of the key reasons for "classical elitists" for why film music is supposedly inferior and unworthy. And to be perfectly honest, for many "lesser" scores it is a valid reason (at least when it comes to a purely mathematical prioritisation of what music you can focus on in a finite lifetime - comparing the bulk of not first rate film scores to the decades and centuries of classical compositions at your hand). More so today, when films are less reliant on music, therefore more sparsely and abstractly scored, so that even a well crafted score often doesn't stand much of a chance to develop a musical unity. And of course the fact that film composers of Williams's generation were classically trained, while most today are not, is also relevant to this particular topic - because the reason why I believe that Williams's scores (and those of many of his contemporaries and predecessors) warrant a C&C release is because they do have sufficient form (stemming from the formal training of their composers and also the fact that the film narrative provides a structure of its own that - if more than just key scenes are scored - does give not just a narrative, but a narrative form to the resultant score). Whereas today we have many composers who have first rate narrative and dramatic skills, but lack a formal training and, as a result, lack form in their compositions.
     
    Which boils down to: I partly understand where Williams (and also critics) are coming from, but I also disagree in many cases and believe that Williams is selling himself short by (presumably) trying to fix the (supposed) lack of form for his album arrangements.
     
    One might argue that the scores often already are that. Which is why we not only have great scores for lousy films, but sometimes also scores that make you want to rewatch the film even though you know it's not as good as the score suggests.
  13. Love
    Kasey Kockroach got a reaction from crumbs in John Powell's MIGRATION (2023)   
    Makes me happy that nearly any mention of the film (even from normal people who probably don’t listen to film scores otherwise) praises Powell.
    https://www.instagram.com/p/C1AMGq6v032/



  14. Like
    Kasey Kockroach got a reaction from ThePenitentMan1 in John Powell's MIGRATION (2023)   
    It’s more that I like seeing film score fans be made, given what a niche interest it is. Sure, we notice and appreciate music, but imagine a NORMAL person noticing these things!
  15. Like
    Kasey Kockroach got a reaction from Gabriel Bezerra in John Powell's MIGRATION (2023)   
  16. Like
    Kasey Kockroach got a reaction from Richard Penna in John Powell's MIGRATION (2023)   
    It’s more that I like seeing film score fans be made, given what a niche interest it is. Sure, we notice and appreciate music, but imagine a NORMAL person noticing these things!
  17. Like
    Kasey Kockroach got a reaction from Once in John Powell's MIGRATION (2023)   
  18. Like
    Kasey Kockroach got a reaction from Muad'Dib in John Powell's MIGRATION (2023)   
    Makes me happy that nearly any mention of the film (even from normal people who probably don’t listen to film scores otherwise) praises Powell.
    https://www.instagram.com/p/C1AMGq6v032/



  19. Like
    Kasey Kockroach got a reaction from enderdrag64 in John Powell's MIGRATION (2023)   
    Makes me happy that nearly any mention of the film (even from normal people who probably don’t listen to film scores otherwise) praises Powell.
    https://www.instagram.com/p/C1AMGq6v032/



  20. Haha
    Kasey Kockroach got a reaction from Drawgoon in John Powell's MIGRATION (2023)   
    Makes me happy that nearly any mention of the film (even from normal people who probably don’t listen to film scores otherwise) praises Powell.
    https://www.instagram.com/p/C1AMGq6v032/



  21. Love
    Kasey Kockroach got a reaction from Edmilson in John Powell's MIGRATION (2023)   
    Makes me happy that nearly any mention of the film (even from normal people who probably don’t listen to film scores otherwise) praises Powell.
    https://www.instagram.com/p/C1AMGq6v032/



  22. Love
    Kasey Kockroach got a reaction from Luka in John Powell's MIGRATION (2023)   
    Makes me happy that nearly any mention of the film (even from normal people who probably don’t listen to film scores otherwise) praises Powell.
    https://www.instagram.com/p/C1AMGq6v032/



  23. Like
    Kasey Kockroach reacted to Edmilson in John Powell's MIGRATION (2023)   
    It's got everything a Powell fan craves from his scores: exciting action, great themes, wholesome moments...
     
    I missed this kind of score from him so badly.
  24. Like
    Kasey Kockroach reacted to Trope in John Powell's MIGRATION (2023)   
    Just listened to this for the first time…
     
    It’s absolutely amazing, and a contender for best score of the year. The quality of the music (orchestration, harmony, melodic invention, memorable themes, distinctive compositional voice, etc) all prove Powell to be one of the most accomplished composers working in film today.
     
    No joke, I think this is one of his greatest scores (animated or live action). Is it blasphemy to say that it’s a step up from Solo (one of my favourites of his in recent times)? I had such a blast listening to this music. I was never a Powell super-fan, but this score has me excited to go back and re-evaluate his earlier animated works. I eagerly await his next projects.
  25. Like
    Kasey Kockroach got a reaction from Luka in John Powell's MIGRATION (2023)   
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