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Passengers (Thomas Newman)


Thor

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Henry Jackman is a brilliant composer. I think it was Zimmer who said in some interview a few years ago that although he only gets to do drum'n'bass-type stuff (since he has a background in that, and other pop-oriented stuff), his talents extend so widely beyond that, especially into orchestral music, it's ridiculous (he's studied classical music). So I'm confident we haven't seen his best work yet, as much as I love CAPTAIN PHILIPPS, WRECK-IT-RALPH, CAPTAIN AMERICA: WINTER SOLDIER, KICK-ASS etc.

 

When that is said, I'm glad it is NEWMAN who is doing this film. We don't get to see him in a sci fi setting very often. Romantic sci fi, but still....

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Problem with that trailer is that it revealed the initial 'twist', followed by a 'down the garden path' sacrifice which we all know won't result in anyone actually dying, and then the revelation that *it* was meant to happen, which means that instead of a Martian-like survival story, it suddenly becomes a conspiracy, probably with Morgan Freeman appearing to explain the meaning of life.

 

Meh.

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On 11/24/2016 at 5:44 AM, Thor said:

Henry Jackman is a brilliant composer. I think it was Zimmer who said in some interview a few years ago that although he only gets to do drum'n'bass-type stuff (since he has a background in that, and other pop-oriented stuff), his talents extend so widely beyond that, especially into orchestral music, it's ridiculous (he's studied classical music). So I'm confident we haven't seen his best work yet, as much as I love CAPTAIN PHILIPPS, WRECK-IT-RALPH, CAPTAIN AMERICA: WINTER SOLDIER, KICK-ASS etc.

 

When that is said, I'm glad it is NEWMAN who is doing this film. We don't get to see him in a sci fi setting very often. Romantic sci fi, but still....

There's this great moment from an interview where explains how he wrote this grand orchestral Williamsesque theme for X-Men and then Vaughn goes "That part, make that the theme," and he responds "The fucking bassline?!"

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  • 2 weeks later...

Prototypically Newman really. Which is not to say it is bad at all. Colour me intrigued.

 

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Yes, basically all dramatic T. Newman scores sound pretty similar to each other.  The devil's in the details: sometimes the melodies and energy just take hold of me (as with Bridge of Spies) and sometimes I just find his music a little dull (Saving Mr. Banks, which I know some love but did not do it for me).

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30 minutes ago, Prerecorded Briefing said:

I look at most Newman scores as another opportunity for the perfect Newmanism compendium. 

 

This. Not many scores have achieved that, but when they do, they are scores for the ages.

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Just came back from the movie.

 

My two colleagues were rather negative, much like the rest of the international press corp, it seems.

 

I was considerably more positive, however. Yes, I do recognize a set of shortcomings, but I have a particular attraction towards movies about a lonely guy (or two people, or a small group) caught in a spaceship -- films like MOON, LOVE, PANDORUM, APOLLO 18, even ALIEN, INTERSTELLAR etc. So the first part, while Chris Pratt wanders around the spaceship, was one of the highlights for me.

 

The interaction with Jennifer Lawrence was less engaging, and she doesn't deliver her best performance -- it's all screams and surface, with very little deeper value.

 

The tempo is fairly low, and except for a riveting suspense bit in the third act, do NOT expect an epic space drama.

 

I really liked Thomas Newman's score on album. In the film, I'm less sure. His trademark, offbeat riffs and figures don't always mesh well with the huge imagery on display (especially in the action sequences or every time we venture outside the ship for totals etc.). It's not really "big" enough. I know he's capable of that sound, but he was either not told to do it, or decided not to. Or both.

 

I'm certain the film will be a moderate success at the box office -- it's very 'common' in  its appeal and storytelling -- but it really fails to explore the more metaphysical or philosophical aspects of the premise.

 

3 of 5.

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18 minutes ago, BloodBoal said:

 

So it's Lawrence as usual, mostly?

 

;)

 

Sort of, but I like her in that mode sometimes, and when the source material calls for it (HUNGER GAMES, SILVER LININGS), which it didn't really here; or she didn't really manage to create a believable and interesting character out of it. My favourite role of hers is still her most understated -- her breakthrough role in WINTER'S BONE.

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While both ROGUE ONE and PASSENGERS are fairly 'middle-of-the-road' sci fi affairs to me, I think -- ultimately -- I prefer ROGUE ONE over PASSENGERS. Just to provide a frame of reference.

 

The best science fiction film of 2016 remains ARRIVAL, IMO. Depending a bit on definition.

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6 hours ago, Stefancos said:

Underrated...except it won her an Oscar.

 

Also, that's not the one that got her an Oscar.

 

She got nominated. She won for Silver Linings Playbook.

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  • 4 weeks later...
  • 3 years later...

I saw the film on a plane in 2017. The score has its moments, but doesn't really do a huge amount between those highlights.

 

I liked the movie as well - it's not going to make any 'favourites' lists, and the setting is unrealistic, but I don't get why people think the story is bad.

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