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Pinar Toprak's CAPTAIN MARVEL (2019)

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1 hour ago, gkgyver said:

Do I have the right to criticize this as a white heterosexual man, or is it both racist and sexist if I said it sounds as generic as they come?

 

Its fine, there are plenty of bland Marvel scores. This is just another one.

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1 minute ago, leeallen01 said:

I can't wait to see Captain Wamen defeat Thanos and save all the Avengers who we've seen struggle and grow for a decade over 20 films, to then be saved by someone else instead of doing it themselves. 

 

Is that really what's going to happen? Good thing I've decided to end it at Infinity War. Thanos wins, the end.

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They wouldn't introduce her now if she isn't the key factor to defeating thanos. Big mistake from Marvel. They should have the original Avengers defeat Thanos, hence the huge struggle and deserved payoff. THEN introduce Captain Marvel AFTER Endgame.

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If Endgame will take anything from the comics at all, Marvel will be more like a blunt instrument to distract Thanos while the others enact their true counterplan.

And then Thanos lets go off the gauntlet due to his own folly anyway.

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Not a bad main theme in that clip. Way better than some of the generic power anthems that some RCP composers crank out.

 

Why did they ditch Tyler's logo music? The 2016 one meanders too much for me.

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1 hour ago, MedigoScan said:

If Endgame will take anything from the comics at all, Marvel will be more like a blunt instrument to distract Thanos while the others enact their true counterplan.

And then Thanos lets go off the gauntlet due to his own folly anyway.

 

What does she do, flirt with him?

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She doesnt do anything in the comics actually.

Its just that in the comics Thanos, there's a part where most heroes hopelessly try to fight Thanos (after he already decided to power himself down just to make the fight fun for him at all), two characters try to use the distraction to snatch the glove away. (That doesnt work anyway, and the only reason Thanos loses the glove is because he stupidly decided to abandon his body and turn himself into a cosmic entity) 

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Tracklist

 

01. Captain Marvel (2:15)

02. Waking Up (1:29)
03. Boarding the Train (1:30)
04. Why Do You Fight? (1:14)
05. Let’s Bring Him Home (1:39)
06. Entering Enemy Territory (3:33)
07. Breaking Free (5:24)
08. Hot Pursuit (4:35)
09. Lost the Target (2:10)
10. Lifting Fingerprints (1:32)
11. Finding the Records (5:20)
12. Escaping the Basement (4:23)
13. Photos of Us (1:56)
14. Learning the Truth (3:16)
15. New Clothes (1:04)
16. Space Turbulence (2:58)
17. High Score (2:35)
18. Interrupting Something? (1:30)
19. Trapped (3:20)
20. I’m All Fired Up (3:20)
21. More Problems (8:16)
22. You Could Use a Jump (1:45)
23. This Isn’t Goodbye (2:29)

 

TOTAL TIME - 1:07:27

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3 hours ago, Obi said:

The real cover is :

tTsc7G6l.jpg

All the ones Mr. Who did are notably better than this. The lighting on Brie’s face is just... I dunno, poorly done. 

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13 hours ago, thestat said:

Well, how about shutting up your damn faces. This is clearly a mock-up or a bad recording of the final thing. Are you all just so blinded by weird fanboy clique q-anon stuff? Toprak needs to be seen on her merits alone and we need to give her a chance. And fuck off to everyone that argues for female or racial exceptionalism. You have no understanding of history and can sit the right fuck back down now. 

 

Easy for a white boy - dougie, kasey - to make these comments. Have you ever had to do, well, anything in your lives?

 

Kaseykokroach, Dougie.

 

Wait until you get into the real world and actually get a job. I am sure you lot will blame immigrants cos you can't get a job without any qualifications or brain matter. Well, the tide of history does turn on you and you are the waste we wash away.

 Oh wow. I think we can all agree that Toprak's score lacks a theme and personality. How do you go from winning an Oscar to not having a theme?????

 

 

Who hurt you?

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3 hours ago, thestat said:

Well, how about shutting up your damn faces. This is clearly a mock-up or a bad recording of the final thing. Are you all just so blinded by weird fanboy clique q-anon stuff? Toprak needs to be seen on her merits alone and we need to give her a chance. And fuck off to everyone that argues for female or racial exceptionalism. You have no understanding of history and can sit the right fuck back down now. 

 

Easy for a white boy - dougie, kasey - to make these comments. Have you ever had to do, well, anything in your lives?

 

Kaseykokroach, Dougie.

 

Wait until you get into the real world and actually get a job. I am sure you lot will blame immigrants cos you can't get a job without any qualifications or brain matter. Well, the tide of history does turn on you and you are the waste we wash away.

 Oh wow. I think we can all agree that Toprak's score lacks a theme and personality. How do you go from winning an Oscar to not having a theme?????

 

 

 

giphy_(36).gif

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Yep, in my first listen to this score I felt it was completely unremarkable. It didn't give me a headache, but I couldn't pick themes or enjoyable moments. It's a pity since I was expecting something better, I like the things Toprak has done with Elfman, for example.

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16 hours ago, thestat said:

Well, how about shutting up your damn faces. This is clearly a mock-up or a bad recording of the final thing. Are you all just so blinded by weird fanboy clique q-anon stuff? Toprak needs to be seen on her merits alone and we need to give her a chance. And fuck off to everyone that argues for female or racial exceptionalism. You have no understanding of history and can sit the right fuck back down now. 

 

Easy for a white boy - dougie, kasey - to make these comments. Have you ever had to do, well, anything in your lives?

 

Kaseykokroach, Dougie.

 

Wait until you get into the real world and actually get a job. I am sure you lot will blame immigrants cos you can't get a job without any qualifications or brain matter. Well, the tide of history does turn on you and you are the waste we wash away.

 Oh wow. I think we can all agree that Toprak's score lacks a theme and personality. How do you go from winning an Oscar to not having a theme?????

 

 

I'm sure they're really sorry for not thinking Captain Toprak's score is the greatest piece of art ever conceived. I haven't even heard a note, because I'm not interested in the score or the film (even though I enjoy the Marvel films, and will be seeing Endgame) but I guess my disinterest in Captain Brie makes me a sexist pig. 

 

Here's what people like you want us to say; The film and its score is a masterpiece because they're so stunning and brave.

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16 hours ago, thestat said:

 

Easy for a white boy - dougie, kasey - to make these comments. Have you ever had to do, well, anything in your lives?

 

 

Also, please don't bring race and sex into this, especially considering dougie identifies as a cis-gender silver toaster, and Kasey identifies as a female Indonesian Southern Fruit Bat. Please be careful in the future.

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The score still has its best moment:

 

2:30 - 3:12

^^The track accompanies one of the best moment of the movie

The brass! Rohan riders, attack! The LOTR is strong with that bit

 

The action writing of this track! quite sophisticated!

 

She can write action frenetically like man-Powell does!

 

 

 

----

 

whats with the 80s synth obsession in superhero movies? Ragnarok, Aquaman, now this.. I dont know what Vangelis may think about this

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Just had a listen through. The main theme is decent enough and some of the action material is pretty neat. You can tell she’s worked with Elfman and RCP. It was okay, I’ll have to see how it works in the film.

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To me on my first listen before even having seen the film, I had felt she had gotten a heavy influence from Blake Neely's Supergirl Main Theme, you can hear the exact string rhythm (albeit faster) in the Captain Marvel theme, which I believe is in the second half of the End Credits.  The other score I felt like it "wanted" to be was Lockington's Percy 2. There were a few particular moments that had sounded a whole lot like Lockington's theme he wrote for Percy 2. And I agree with the Williamses / Giacchino references, some of the brass riffs / orchestrations sounded exactly like some of the Star Wars action cues of the most recent episodes. In terms of Giacchino, I think she had went the Incredibles route, as some of the cues sounded vaguely familiar from that particular score.

 

Some of the other Giacchino scores that it reminds me of would be Fallen Kingdom, Jurassic World, and obviously Incredibles 2 as well. Those are all pretty brass-heavy scores, and the orchestration here seems more or less the same. We know how much the Disney execs LOVE Giacchino, so it makes sense they are pretty used to having that sound in almost all of their films. It's pretty much the whole reason he got the Rogue One job.

 

Honestly to me, the vocal reference doesn't really stick with me much as a Lisa Gerrard reference, as I don't think she was trying to evoke an ethnic sort of vocal-work here. When I heard Waking Up I immediately thought of this track from Percy 2: https://www.youtube.com/watch?v=QVOLZQn1qEk

 

Another female that sounds a lot like this type of vocal style would be Tori Letzler in Thor 2: The Dark World, which would make a lot of sense considering how that's actually a recurring theme in the MCU, more than you can say for most of them.

 

04. Why Do You Fight? is in the very beginning of the film when she is fighting Yon-Rogg (Jude Law's character) right? Honestly, for some of the more "synth-heavy" cues I heard more Aquaman than I did Thor: Ragnarok. I would be curious to know if there were actually any additional composers on Captain Marvel, as it would be interesting to see if Andrew Kawczynski had worked on this film as well. :P

 

I'm still going to give some time for the score to grow on me overall, nothing specifically had stood out to me in the film besides a few of the brass runs / synth arpeggiations were pretty neat and unique to my ears. I don't know if it was the fact that the score didn't seem to be mixed too loudly for the scenes that had music, but hopefully after a few more listens of the OST I will come to a proper conclusion as to what I think of the score. For me personally, during the post credits scene, the music that I heard playing during that scene was instantly recognizable to me. Not going to spoil anything obviously, but it was the most memorable piece out of the entire film, but that's also because that's one of my favorite scores of recent years, and I have listened to it a lot. I would ramble on more, but I see no point until I begin more familiar with the score.

 

PS: I'd be quite interested to know what everyone thinks of the "sound"? heard @ about 1:52 in the cue Breaking Free on the OST. I can't really make out what kind of Instrument would actually make that sound, but to me at first it had sounded like a woman screaming something. It almost sounds like straight-up dialogue. Would be curious to know if anyone else had heard that. Also, half-way through this cue reminded me of the "sound" of very high strings that you hear in almost all of Doyle's scores, but most notably the Goblet of Fire. He definitely does something very specific to the strings in his scores that make them sound the way they do, and that is definitely somewhat emulated halfway through this track.

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Saw the film last night and thought it was okay as far Marvel films go, it felt like it was missing a few plot threads and could've done more to strengthen the emotional elements and bonds between characters. Oh, and they basically reduced Nick Fury to comic relief, which offered some funny moments, but kinda ruined the mystique and nobility that I always associated with his character.

 

The score felt like Toprak had absorbed every trick in the book regarding orchestral film score writing, but had no voice of her own to offer to compensate this. There's a main theme, and hints of a theme for the films multiple villains, but that's it, the rest of the score is generic orchestral fare that sounds like a handful of other composers. Don't get me wrong, it's nice to hear this type of writing in the sea of RCP clones, but I didn't come away from the film thinking 'Ah, that's Toprak, that's distinctly her style'. In that sense, although there's no Zimmer power anthems, it kind of makes me wonder whether the score itself would've benefited from a clearer anthemic approach - combined with the synths of course.

 

I think the producers etc. wanted a Williams-esque score and consciously used a temp score filled with his and as @Lockdown mentioned - Giacchino's music that Toprak had to work to. The space battle at the end was clearly temped with Star Wars music!

 

 

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I'm listening right now on Spotify and it's making a kind of fun background listen. It's more interesting to me than whatever Silvestri came up with for the last Avengers movie. Some rather interesting action music early on - Breaking Free is very good, with an ending that made me take notice.

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Oh boy, the first female composer for a superhero film! Let's have it so you can't hear the score at all in the film under all the sound effects! Oh well, at least the music always gets to shine in an end credits suite, right? Oh, wait, no, there isn't one, they just used a pop song.

How progressive! 

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