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Bear McCreary's Godzilla: King of the Monsters (2019)

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4 hours ago, Kasey Kockroach said:

I'm disgusted when anyone compares what Godzilla 2014 attempted to Jaws or Jurassic Park. 

Gareth Edwards isn't even fit to be mentioned in the same breath as Spielberg's worst. 

 

Do these people really think Ford Brody is anything as compelling as Chief Brody or Alan Grant?!?

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4 hours ago, Kasey Kockroach said:

I'm disgusted when anyone compares what Godzilla 2014 attempted to Jaws or Jurassic Park. 

 

 

Why? The film clearly channels Spielberg in that mode in at least some instances. It's main human character is named after two characters in Spielberg films. 

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Man, isn't it clear that the mandate from both McCreary and studio was - Elliot Goldenthal. The orchestrations, melodies, weirdness, and crazy choral stuff is totally exhibing Goldenthal strains. Rodan - the best track - is such an awesome homage to the Alien franchise - the theme is from Alien 3, the military percussion is total Aliens. Amazing score but with all those all important Bear inflections.

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Wish IMAX didnt drown out so much music with SFX. I could barely hear Ghidorah's theme at times.

 

Also the end credits used Ghidorah's Theme/Mothra'sTheme/Goodbye Old Friend and the Main Theme... except without the chanting of GOJIRAH.

Weird choice.

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After having seen the movie I don't think it's just IMAX - the sound mix drowned out McCreary's music multiple times in my regular 2D screening as well. The movie is definitely not subtle, or trying for it at any point, and that "trample everything as fast as you can" approach apparently applied to the mixing, too. 

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Some people said their cinemas drowned the monster roars out with the music, funnily enough.

But you can hear even the music itself is mixed differently because the endcredits version of Ghidorah's theme also has the instruments overpower the chanting.

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I'm not sure what to make of this score. This gives me a bit of a headache. Bear once again feels a need to have every single instrument under the sun to play at the same time. It's mostly the same thing we've been hearing for the past decade in every damn blockbuster (not to mention trailers) ---- string ostinati punctuated by big drums and chanting. The funniest thing is that it makes you miss Desplat's "intimate" 150-whatever-piece (!) orchestra from the 2014 film. It was a much better score - focused and coherent. This one has some good moments, especially when it's not full-on, but 97-minute album is probably an overkill. I do like that he used some classic monster themes... especially the classic Mothra's Song. Mosura Ya Mosura!

 

Having watched the film yesterday, I can state it doesn't really accomplish much in context either.

 

Karol

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8 hours ago, crocodile said:

I'm not sure what to make of this score. This gives me a bit of a headache. Bear once again feels a need to have every single instrument under the sun to play at the same time. 

 

Karol

 

 

He must hang out with Brian Tyler.

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Arnold's score has a certain finesse that's never been replicated, featuring a sense of danger, bravado, majesty and even a bit of romance.

 

McCreary's is an admirable effort, and it makes me giddy to hear the original Godzilla and Mothra themes return, but overall it's as busy and crammed as I feared it'd be.

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I don't hate Bear's music, by the way, but it's just hilariously overdone.

 

2 minutes ago, The Original said:

Arnold's score has a certain finesse that's never been replicated, featuring a sense of danger, bravado, majesty and even a bit of romance.

In terms of execution of thematic material this might be one of the strongest works in his career.

 

Karol

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I haven't listened to the score but the idea of a score with dense orchestration for a film like this is ... bizarre. As if you're not already competing with thousands of sound effects in the mix for such a destruction-heavy movie? Is this just his way of fighting for attention in the mix, by throwing everything and the kitchen sink into the score?

 

Suddenly Desplat's approach makes complete sense, stripping it all back to the essentials.

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1 minute ago, crumbs said:

I haven't listened to the score but the idea of a score with dense orchestration for a film like this is ... bizarre. As if you're not already competing with 500,000 sound effects in the mix for a Godzilla movie. Suddenly Desplat's approach makes complete sense, stripping it all back to the essentials.

Yes, that is because Desplat is clever. Always was.

 

Karol

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Normally, I'd remark "Of course it's loud bombastic music! It's a monster movie! Go listen to Stanley and Iris or something, ya wimps!". But this...well, isn't INTERESTING loud bombastic music. Or even fun. It hardly sounds like music that was even written so much as churned out as extra background noise to pile onto the movie. 

I'm not a ker-splat fan at all, but even that at least built an atmosphere.

Either way, I'll take this and be on my way, thanks.

 

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Not sure if I'd want that. The more Giacchino does monster movie scores, the less special Fallen Kingdom would be. Less is more, ya know? I'd rather have a new guy get his or her chance to do some monster carnage music.

Though since McCreary's score is buried in the movie to the point of being non-existent, I guess it hardly matters.

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13 hours ago, Kasey Kockroach said:

Normally, I'd remark "Of course it's loud bombastic music! It's a monster movie! Go listen to Stanley and Iris or something, ya wimps!". But this...well, isn't INTERESTING loud bombastic music. Or even fun. It hardly sounds like music that was even written so much as churned out as extra background noise to pile onto the movie. 

I'm not a ker-splat fan at all, but even that at least built an atmosphere.

Either way, I'll take this and be on my way, thanks.

 

Are you forgetting 'ROAR!' from Cloverfield?

 

 

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2 hours ago, MedigoScan said:

Sure Arnold and Desplat made better scores. But I still like this myself. 

Call me crazy but tracks like Rodan and Ice Breaker are fun to me.

There is probably a nice 50-minute album somewhere in there. 

 

Karol

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19 hours ago, crocodile said:

Yes, that is because Desplat is clever. Always was.

 

Karol

Yeah.....this actually really makes sense. Desplat was composing for future audiences.....his score still stands as intellectual but also totally genre........

 

But at the end of the day, Desplat would not have been able to compose a love-fest like Rodan, a massive 5 minute piece premised on Alien3's Ignition scene, combined with Horner's marine martiality. Yes, it's fan service, but you guys are the fans. Why the fuck are you not happy!

What do the fans want then? Something different (you didn't like Desplat), or something similar (you don't like McCreary), wow..........

Something exactly like your silly little self, whoever you are.

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David Arnold's music here is still the coolest Godzilla musical moment to me. It's kinda funny in the context of the movie because you barely see Godzilla (This is not his big official reveal) except for his feet and a bunch of fish and debris flying everywhere, car crashes etc. It's pretty much exactly how it would be if he just emerged into Manhattan, though.

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