Chen G.

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  1. It is a concert arrangement, but I bet its edited from material written for the underscore, rather than having been composed and recorded for the album or end-credits in the way of Williams previous suites.
  2. The porgs and caretakers didn't really annoy me, but there was way too much of them. Luke was funny enough on his own. I get that they wanted the island to feel real, with fauna, but the caretakers alone would have sufficed.
  3. Yeah. I've only really watched them a couple of years back. They're not as big a deal around here. The original Star Wars is a bit silly and weird, which is to say nothing of Return of the Jedi. Really, Empire Strikes Back remains the only true masterpiece of the whole series: outside of C3PO, its literally a film of no meaningful flaw.
  4. There's a thread around here about that very subject. It was something around 90 times overall, before this film hit.
  5. Two wrongs don't make a right. You might as well have pointed to Sith's own very obvious temp-track.
  6. I suppose something involving Rey in the Crait finale must have been cut, because the entire sequence is shockingly lacking her presence. Even when we see the Falcon it isn't perfectly clear that Rey is there until it cuts (for a split-second) to her aiming the guns. If a plot point doesn't appear in any of our episodes, it does not exist!
  7. Its the use of long takes that is unusual for Star Wars. The opening shot is typical: pan down from the stars to an imperial ship in wide shot. Only here, the "camera" "pans" towards said ship. It happens again inside the ships, on Luke's island, etc... Now that was an excellent scene! That's true of each of the Star Wars trilogies and, in fact, of any film series that whose features aren't all shot simultaneously. Its not a question of this ability existing, its about how its not set-up in the narrative. You could argue that its an extension of the way Rey and Kylo "connect" but that doesn't quite cut it: EVERYONE in the scene can see Luke. And again, if you are looking at it from the point of view of a multi-film narrative, told in the order of the episodes, than introducing wholly new abilities in the eighth episode can come off as a deus-ex-machina.
  8. Yes, but since this film his little to do with Revenge of the Sith, the connection that this semblance creates is very puzzling.
  9. It actually felt a lot like Helms' deep and a bit like Minas Tirith, as well. To the point that I believe it was a direct influence on Rian's choices. But I can't help but feel like the effectiveness of that set-piece in undermined by the previous action scene: you can only supply an audience with a certain amount of excitement and action before they become accustomed and saturated by it. Its like the truck chase in The Dark Knight dwarfing the final action scene. There's no grand scheme. Each script is an independent work informed only by what came before it. The only way to plan a trilogy like this in advance is to write and shoot it all simultaneously, Jackson-style.
  10. This film's pacing issues go deeper than the Canto Bight sequence, although it is the most egregious of them all. However, even in the first act there's too much time spent with the death scene of Rose's sister, with the opening "prank call" joke, with all the exposition, etc.... In the first half of the second act, we get the Canto Bight sequence, and in the second half we get such an exhilarating action set-piece on Snoke's ship that the third act almost feels redundant. And after the actual third act, we get two scenes that would feel more in-place during and after a credit sequence in a Marvel film: one of social mingling on the Falcon, and one with those orphans. Its all just too much. If there are pacing issues in just one of the act (especially the first act) one tends to overlook them. When they plague every part of the narrative, that's another deal all together.
  11. That's not it. So much of the material itself sounds like near-quotes of themes from Revenge of the Sith. Its clear to me that Johnson really liked that score, and temp-tracked his film with it, and became so enamored with his temp-track that he made Williams follow it very closely. Since there is no thematic reason for this episode to, well, errr, "rhyme" with episode 3 of all films, it doesn't ring entirely true for me. As far as the quality of the sound, yes its a more grandiose and dramatic score and its better off for it. Its actually a presence in the film, which is refreshing, but Johnson's temp-track love and a shortage of new thematic material drags it down for me.
  12. I have an issue with the general prequel-vibe of this score. These scores and films are supposed to be enjoyed in the narrative order of the episodes, but now the eighth episode heavily calls back, of all the previous entries, to what is supposed to be the third episode? There are half a dozen spots where it nearly quotes prequel themes, the SATB choir is back (albeit briefly), the chu-daiko is back, the mix is similar, etc...
  13. I think its absolutely the director's wishes which are the problem, here. Again, its also evident with Johnson temp-track love, etc...
  14. Lando has an actual internal conflict and an arc. This guy, however...