Sharkissimo

It's great, though i can see why some might find it grating. That Bulgarian folk style is extremely compressed and resonant, using quite a different mode of vocal production to that of the Italian bel canto sound we're all familiar with.
 
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"These orchestrations... too clunky for William Ross. Only Michael Giacchino is so incompetent."

Yeah, but too seriously. And that's one of its critical flaws. Everything in it so patently ridiculous--a queen dressed as a fucking Christmas decoration; a villain with devil horns and halloween facepaint; uncomfortable alien caricatures of Jamaicans and East-Asians that attempt to hearken back to an earlier era of film; an irritating little brat who just happens to also be an inventor and an ace pilot. That would be all fine and credible if it was done with some self-awareness, but the whole thing is so bloody stolid. There's no warm, relatable character on screen, absolutely no one around with a pulse. They're all just mouthpieces for exposition or stage props to furnish George Lucas's resplendent imagination. Rey may be a bit overpowered, but at least she has some semblance of a personality, or "spunk" to quote Snoke's unfortunate turn of phrase.
 
Re-visiting A New Hope, for all the cornball earnestness and grammatically egregious dialogue ("given clairvoyance enough to find the Rebels' hidden fortress" anyone?) there's a lovely mischievous, even subversive glint in its eye. It's mostly delivered through Guinness' performance, but Ford deals out his share. Unscripted eye rolls, improvised antics ("We're fine. We're all fine here, now, thank you. How are you?")--small gestures that gently poke fun at the absurdity of Lucas' creation.
 
Force Awakens is far from a perfect Star Wars film, but it reintroduced that irreverence back into the SW universe, even if it did overstep the mark on occasion. For that I'm thankful.
 

It's great, though i can see why some might find it grating. That Bulgarian folk style is extremely compressed and resonant, using quite a different mode of vocal production to that of the Italian bel canto sound we're all familiar with.
 
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"These orchestrations... too clunky for William Ross. Only Michael Giacchino is so incompetent."

John Williams conducted the Boston Pops in a performance of this Wednesday May 23rd and Thursday May 24th in Boston last week, and WCVB radio broadcast it online yesterday. Here is @Faleel's recording of the internet stream. Enjoy!
 
 

GREAT FIPMS IN ORDER OF GREATNESS, Star Wars, TESB, TFA,
 
JUST OKAY MOVIES,  ROTJ, TLJ, SOLO
 
MEDIOCRE FILMS, TPM, R1
 
SHIT films, AKA LOSER FILMS,  ROTS,  AOTC
Star Wars is easily the greatest film and by far the greatest score of the series. Life is so much better because Star Wars exists. Not anh.

Yeah, but too seriously. And that's one of its critical flaws. Everything in it so patently ridiculous--a queen dressed as a fucking Christmas decoration; a villain with devil horns and halloween facepaint; uncomfortable alien caricatures of Jamaicans and East-Asians that attempt to hearken back to an earlier era of film; an irritating little brat who just happens to also be an inventor and an ace pilot. That would be all fine and credible if it was done with some self-awareness, but the whole thing is so bloody stolid. There's no warm, relatable character on screen, absolutely no one around with a pulse. They're all just mouthpieces for exposition or stage props to furnish George Lucas's resplendent imagination. Rey may be a bit overpowered, but at least she has some semblance of a personality, or "spunk" to quote Snoke's unfortunate turn of phrase.
 
Re-visiting A New Hope, for all the cornball earnestness and grammatically egregious dialogue ("given clairvoyance enough to find the Rebels' hidden fortress" anyone?) there's a lovely mischievous, even subversive glint in its eye. It's mostly delivered through Guinness' performance, but Ford deals out his share. Unscripted eye rolls, improvised antics ("We're fine. We're all fine here, now, thank you. How are you?")--small gestures that gently poke fun at the absurdity of Lucas' creation.
 
Force Awakens is far from a perfect Star Wars film, but it reintroduced that irreverence back into the SW universe, even if it did overstep the mark on occasion. For that I'm thankful.
 

Funny, I didn't get that impression at all, Rogue One sounds like it was entirely Giacchino's effort, warts and all. 

It's so bad, it's brilliant.
 
It also makes for a great drinking game.
 
https://drinkwhen.ca/project/star-wars-episode-ii-attack-of-the-clones-drinking-game/

It's more of a clever remixing and subversion of Lucas' original trilogy, in the same way Lucas recycled and toyed around with The Wizard of Oz, Joseph Campbell's Hero's Journey and Kurosawa's Hidden Fortress.
 
You're talking about the global narrative, which follows a familiar set of archetypes, while I'm looking at it on a more localized level. I'm praising the concision of individual scenes, character beats and lines of dialogue.

Johnson has an incredible eye for purely visual storytelling, but his writing and direction of actors leave a lot to be desired (the later not being an issue for Hamill, Driver, Gleeson, and Isaac, but rather the less experienced members of the cast). It's all a bit heavy and ponderous, making me long for Kasdan's screwball wit and Abrams, Brandon and Markey's boundless energy. The Force Awakens just had such a great economy of storytelling. Real verve.

Johnson has an incredible eye for purely visual storytelling, but his writing and direction of actors leave a lot to be desired (the later not being an issue for Hamill, Driver, Gleeson, and Isaac, but rather the less experienced members of the cast). It's all a bit heavy and ponderous, making me long for Kasdan's screwball wit and Abrams, Brandon and Markey's boundless energy. The Force Awakens just had such a great economy of storytelling. Real verve.

Johnson has an incredible eye for purely visual storytelling, but his writing and direction of actors leave a lot to be desired (the later not being an issue for Hamill, Driver, Gleeson, and Isaac, but rather the less experienced members of the cast). It's all a bit heavy and ponderous, making me long for Kasdan's screwball wit and Abrams, Brandon and Markey's boundless energy. The Force Awakens just had such a great economy of storytelling. Real verve.

Johnson has an incredible eye for purely visual storytelling, but his writing and direction of actors leave a lot to be desired (the later not being an issue for Hamill, Driver, Gleeson, and Isaac, but rather the less experienced members of the cast). It's all a bit heavy and ponderous, making me long for Kasdan's screwball wit and Abrams, Brandon and Markey's boundless energy. The Force Awakens just had such a great economy of storytelling. Real verve.

Johnson has an incredible eye for purely visual storytelling, but his writing and direction of actors leave a lot to be desired (the later not being an issue for Hamill, Driver, Gleeson, and Isaac, but rather the less experienced members of the cast). It's all a bit heavy and ponderous, making me long for Kasdan's screwball wit and Abrams, Brandon and Markey's boundless energy. The Force Awakens just had such a great economy of storytelling. Real verve.

Just to give some context - "Unofficial But True" is the latest alias of a guy who has enough of a reputation as an obsessive and overall bizarre figure, often found at the center of mini controversies (if you can believe such shit exists in the film music world), that even I know of him in a negative light through the minor industry chatter I'm privy to. I don't bother with any forums beyond JWFan (and even that's waning) but I know from friends that he's popped up and been banned in some other places, at one point apparently even being an ass to Zimmer himself on vicontrol. This is my first time actually seeing him in action. Rather tame, though still a bit weird, even if you could believe it's all done in good fun. 

It's still fits in with Williams' 'Rebel Spaceship Fanfare' title. In the sequel era, the Falcon is the last surviving warship of the Galactic Civil War, having played integral roles in the destruction of the two Death Stars. It's THE Rebel Spaceship.

It's still fits in with Williams' 'Rebel Spaceship Fanfare' title. In the sequel era, the Falcon is the last surviving warship of the Galactic Civil War, having played integral roles in the destruction of the two Death Stars. It's THE Rebel Spaceship.

Good music videos are still being made. 

It's a very well made film. But it also knows it is. It's cool and it constantly tells you so. That might be a bit of a problem, you see.
 
Karol

Faye transforms herself into Joan, abstracting her into something between a Kabuki onnagata and the goddess Juno. It's a stylized rather than "realistic" performance, but so what? Joan was a highly stylized actress.
 
Lange is far too studied, feline and delicate, carrying herself like a porcelain doll that will break at any moment. Joan would've slapped her silly.
 
 
 

But surely not every Star Wars film needs to be a Greek tragedy, and likewise should every Star Wars score have a grand, classical, choric function in the vein of The Last Jedi? You risk fatiguing an audience that way.
 
I think there's room in these non-saga films and scores for burlesque and a general lightness of touch.

You haven't heard his Trumpet concerto.
 
Separately, The playing in "Adventures of Han" is horrible. Brass, especially. They sound seriously bad compared to the London players. 

It's not about percussion (which I happen to love), it's about crap sounding synthesized "beats" as the young 'uns refer to it being placed under everything in this score to "epic it up".
 
There's nothing RCP sounding about ROTS's percussion. Chalk and cheese.