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Whatever it was, especially his MGM historical phase brought us some of the most timeless film music themes ever, even if the Giacchino crowd today probably knows next to nothing about i. e. the psalm-turned-main theme of 'Plymouth Adventure', or the baroque romance of 'Diane' or the folksong lilt of 'Moonfleet' or 'Ivanhoe'. Probably to do with what André Previn called 'unnecessary amount of research' in historical libraries, but it pays off.

Btw, the theme doesn't exist for me without this brass chorale preceding it (it was probably marked 'maestoso').

Snowflake stuff.

As for about appearing in bad movies: they are even.

I always found 'Being There' very overrated.

I am not big on religion, so i beg to differ (about that tune). But i also agree that it's one of his greats, and testament to a magic gift in regards to timeless melodies. It's one case where i could have done with the (good sounding) Rhino and preferred to have the 'Jungle Book' as a new recording instead, but it's still great.

Not to forget the from-the-car-into-the-fountain scene from 'A Shot in the Dark'. Or the 'meuths' Is there much score in this? I have the main title and the 'Shadows of Paris' songs, but don't remember anything else from the movie.

There are some individual cues that are better than most of his action scores of the period, but in idiom and orchestration it's too similar to them to make a splash. Timeline would have been a winner if it only would have come at the beginning of this cycle, i. e. around Chain Reaction.

And a very dreary affair, apart from a few things in the later half. Pedal points be damned.

Better one Name of the Rose Main Title then 10 Deep Impact-like pieces that all sound the same.

Then get every Goldsmith action score between 1995 and 2002 and you are there.

I would not call it great, but she had presence. Why Scott let her die in scenes like in the last half, where she begs Driver to take that photo album with tears in her eyes, we may never know. It’s just one of those scenes that completely don’t work without a wink, because its sincerity belongs to the first quarter of the movie, if at all! She‘s the fucking Alexis Carrington of the story, for god’s sake. Also her accent slips into a weird mishmash of Italian and polish.

My dear boy (or is it girl?), there's nothing 'cold' or 'intricate' about this burlesque show. It's high comedy that has only one problem: every one of its participants has a different idea of where the comedy is to be mined and Ridley Scott, never one of cinema's big funnyman, never clues you in, except for a few scenes (i. e.the hiring of the grubby killers). I enjoyed it for the ia-talian accents, slipping wildly during scenes and often reaching Muppet show-qualities. Leto and Pacino steal the show in their scenes together.

Of it's?

Very similar to other Aaltios, like 'Tale of a Lake'. Big and orchestral, it's the closest to the now-classical Hollywood 90's sound we possibly gonna get these days, but it never rises above Debney-level in its handling of the requisite clichés. But that's something, so...

Right, i wanted to label them Pemberton 1 & 2, but then c/v'd wrong.

It's good. Even Elgort's amateur voice. The recording and the orchestra are top-notch. Whoever conducted it knew his stuff. The 9-minute end credits cue sans signing is the best cue. Netflix #1 The best one (though this only accounts for half of the 50 minutes running time), mainly written for cello and string orchestra with a bit of guitar thrown into the pot. Cues 1-4, 6-7, 11 and 16 could give you the impression there's more to the rest than there actually is. Still... Pemberton #1 Pemberton scores the Lucille Ball/Desi Arnaz story (unbelievably cast with Nicole Kidman and Javier Bardem, actors at least 10-15 years to old for this story), a re-telling of one of Hollywood's big television success stories, but his alcoholism and infidelities threaten to destroy it all. Keeping with the Netflix aesthetic, it's often very subdued and reduced, save for a few short up-tempo drum numbers that go nowhere. Luckily, there's an articulated emotional main theme that's under-utilized but gets to it in at least a few cuts, i. e. in 'The Biggest Asset' or 'The End of a Dream', that at least halfway sells the tragic love story supposedly being told. Pemberton #2 The nadir. Every Pemberton gets a chance with me, but this is faceless, corporate droning, where you desperately wait for even the slightest musical movement (which you get only in a few of Pemberton's patented karaoke backings, meaning percussions for percussions' sake).

Would also have closed in a week.

For what it's worth, Filmfreakcentral loves it:

You think? It's very much of its time and i don't see much in it that's crying out 'update me!'. Especially since the songs and the music are also not particularly au courant. It's a great piece of work, for sure, but in the same vein you could ask 'why isn't South Pacific or Guys and Dolls getting a remake?'

About what i expected. It's called a folly. Which wouldn't be so bad if he had at least remaked not a cultural icon but a movie that wasn't that great to begin with (truth to be told, i don't like a single musical that isn't 'Cabaret', 'Singin in the Rain' or 'The Band Wagon').