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  2. Yeah, he handles a piece of shit with the professional eloquence it deserves. Not going into the whole 'fetishizing socially weird nerds' thing the book/movie so proudly makes its center, i'm going to say i enjoyed it as a proof for that Spielberg's ability as a film craftman is second-to-none. After 20 years of Michael Bay and Doug Liman & Co. and their weird, chaotic mise én scene, Spielberg shows us you can make a brilliant filmic set piece even out of a huge action scene set in a virtual robot monster world with hundreds of things fighting each other. On the other hand, Spielberg as a lifelong Kubrick fan and friend never should have made that peanut brain riff on 'The Shining'. What in the movie begins as an intriguing atmospheric homage soon becomes Disney's 'Haunted Mansion' - it's how a dumb person reads The Shining.
  3. Yes one wonders what the point is of expansions that are missing so many cues. If you're gonna release it, then do it right.
  4. Today
  5. You never flood the market with williams titles…. btw at some time, label managers and producers must realize theyare not getting any younger so i expect them releasing all williamsscores as fast as they can…otherwise they wontbe able to listen to them in their lifetimes. Us fans arent getting younger either. Help us LLL, intrada et al!
  6. We know Williams read the script early on so he may have developed some themes early into the film's production, but I'm glad that he's able to attack the bulk of this score now with the film in post and all the filming completed while cuts of sequences are slowly being delivered to him. Sounds like he won't be rushed a ton and will have more adequate time to send-off Indy in a more cohesive way than he did the Star Wars ST. Should bode really well for the final product.
  7. That's true for any movie he scored regardless of the movie quality
  8. I absolutely adore Highwood's Ghost. Very nice and eerie, it actually makes a nice companion to Heartwood from the 2002 album. The cello concerto will take some time to get used to as I'm so familiar with the other Yo-Yo Ma recordings. The arrangements of the film themes are nice, especially the last two tracks. The cello arrangement of With Malice Towards None is probably my favourite version and I also think this is the nicest theme from that score. It's nice to have a stripped down Avner's theme as well, makes for a nice change. The Schindler's list suite is probably bit overplayed but at least the cello version adds a slightly different, perhaps less Jewish, vibe to the whole which helps to distinguish it from all the other million recordings. The second movement changes the tone of the piece almost entirely. Speaking of which, I always thought it is a shame this suite should feature Auchwitz-Birkenau as the third movement. Without it, it feels somewhat incomplete and almost too "sweet". With this subject matter you sort of need to go there. Karol
  9. Ha! You noticed these too! I wondered if there was a reason why these are the only two that haven't come to light - it's a strange coincidence it's two versions of a similar cue, for two near-identical scenes in two different movies!
  10. Presumably not. As I noted earlier, the independent classical label stores seem to only have other smaller label albums available digitally and Presto only has stuff from Sony Classical, DG etc., available on CD. I just had another look and not only is A Gathering of Friends still only available on CD, but it's gone up by a couple of quid! I already bought it at 7Digital in regular lossless, that'll do for me. Just need to actually listen to it now...
  11. So if I'm understanding correctly, we've now had 2 releases (Spacecamp and Presumed Innocent), 3 more expansions are mastered and awaiting various approvals, and Mike's currently working on two more albums which are earmarked for later this year (presumably Black Friday). So potentially 7 releases all up this year, if approvals go to plan? And assuming they don't hold a few titles back to avoid flooding the market too quickly.
  12. That's a bit harsh. Granted, this definitely isn't Spielberg's finest, or even great, but there's nothing particularly wrong with it. The problem I have with the film is that, as someone who recently left social media and who is not a gamer, some of the themes and conclusions developed within the story can be baffling. I have a hard time identifying with character's passions for virtual reality. Still, from what I know about the book, Spielberg still handles that story gracefully enough. Karol
  13. Why should Blade Runner be such a revelation, it was released a million times now, even with additional material by its composer (that was preferable to some of the film stuff). With Vangelis' passing it would gain a certain poignance, but this of course wouldn't have been a factor when hey started to work on it.
  14. Should be fairly easy to spot when you saw the film. Not because of any subtle analyzing of styles, but type of scene. Important scene (narratively speaking) or introduction of a new theme or style = Zimmer, wall-to-wall stuff that now and then bluntly inserts the Zimmer/Faltermeyer stuff = Balfe.
  15. The ‘fleeting’ part is not what I intended to disagree with in terms of what is in the movie, so let me change tack and ask two questions so it gets more to the core of where my issues are Do you think it makes sense for the character of Luke to harbour zero doubt towards the vision he had when he reached into Ben’s mind? Was Luke in a similar enough circumstance to when he was on the Death Star II in conflict with the Emperor and his father as he was when he was in that room with Ben sleeping, to be able to say that his actions are comparable?
  16. It's as bad as the score (suggests), even Peter Ustinov is awful, camping it up as childish Sheik.
  17. Just purchased No God, No Master. It contains a beautiful cue that's a pastiche over Kamen's Band of Brothers. I don't mind pastiches when done this well.
  18. Hey, do you know where I can find super high def versions of the star wars special edition photos without text?

  19. With one important exception: The Star Wars movies because John Williams Star Wars music is it's own genre. Also, since 1990. John Williams heightens any movie he works on, some say he breathes life into films. He has also worked on some of the most successful and well-regarded movies or all time. But what about the bad movies he scored? What's that list look like? And how did his score impact those movies? Did he knock it out of the ballpark? Did his music heighten the movie? Did he *GASP* write a bad score?!
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