Not Mr. Big

Yes there was an impact.  I recoiled in disgust when the Rogue One title card came up.

But he hasn't always been this way! There was genuine care put into his musical craft ten years ago.
 
Listen to Ratatouille for example, then compare it to this generic, lazy dreck.

Displat is inoffensive but also often uninspired. He's a great technician, so his scores are always well produced and sophisticated but not really something that excite you. He probably writes a really interesting score every 10th or 20th score probably. 
 
Giacchino in his best scores can be dazzling.

You can find it on Youtube:
 
Banal themes. Sounds like it has less character than all the scores that's come before it.

Sony's conference was a bit of a letdown in that it didn't show anything that wasn't already at last year's E3, aside from the VR games and the Shadow of the Colossus remake.
 
That being said, all the games look fantastic, particularly Spider-Man. Disappointed that there's still no release window for Detroit, but it must be within the next year if they're showing this much footage. Though they did show off Dreams about 5 years ago and that's no where to be found. Media Molecule will be the next first party to get shut down. Surprised that GT Sport wasn't mentioned and still has no release date. It was supposed to come out last December. 

I'd be curious to hear how Elfman will play with JXL/Zimmer's material, should he choose to do so. I like how he expanded on Silvestri's largely uninspired theme for the Avengers.

Hurrah!

Sharky's a valued member of the community!  

I saw this thread bumped and I thought "Yes! Finally, some news!" but then it was a stupid skywhatever post. Goddammit.

What I meant was the first (well 3rd) Battlefront game was a boring, representative, run around a small map trying to get more kills than you get killed. Wave after wave of respawns. No actual tactic. No true skill. Just run and strafe and shoot before you get shot. I was bored playing the first level befire I was even finished playing the first level. But oh look, you get to be grossly over powered "heroes" and pay more money for a few more levels because they didn't feel like selling you a complete game in the first place.
 
This new game looks like just more of the same. Class levl characters because you know in war you can only ever handle 1 type of weapon. Going back to the prequels which everyone seems excited about because the game is new but just yesterday were reminding the world how much they hate George Lucas and the crap he came up with after losing his mind in making those films.
 
That story mode will almost certainly be just cut scenes between levels to give players some sense of satisfaction for completing missions rather than just ending a level and going back to the select screen. The gameplay won't change other than this new, suddenly the entire galaxy is full of strong powerful females, character will have her own special "hero" traits.
 
I didn't buy the last game until this past Boxing Day for $25. I feel ripped off. Played maybe an hour and doubt I'll ever play it again. Battlefield/front games are such nonsense they aren't worth my time at all.
 
And no idea why developers who can't be bothered coming up with an actual good game system would somehow be given access to music never before released and then find a creative way to use it. That's too much work with zero financial pay-off that is all these games are about now. I pre-ordered Red Dead 2 and can't wait for a fully fleshed out amazing game.

There are some fine elements in it, and seeing Marion again, is great, but...generally, you guys are right.
 
(edit) actually, it's not bad...it's sad. It's sad to see a whole ocean of talent wasted on such a shoddily executed piece of work. That's the heartbreaking thing about it.

The Mummy - Brian Tyler
 
There are a lot of ugly things in this impudently long release (2+ hours) but what do you expect when record producers nowadays just keep on dumping recording sessions into Spotify without any musical consideration at all? That said, the score has its moments (scattered as they are) and a certain Fast-and-the-Furious/MI 4 swagger in what is called 'Nick's Theme' (Monsieur Cruise, i presume?) so it is not a total miss. 
 
But hopes of a dash through the best of hokey clichés of faux orient, Hollywood style are destroyed all too soon when after a somewhat promising opening third there are virtually 20 minute long spots where Tyler's writing becomes the  equivalent of a clogged artery: a viscuous pap of amorphous basses and percussion that seems to have been mixed by someone holding a deep personal grudge against Tyler (you perk up when a timid harp or flute makes its appearance but alas, stuff like this just acts as a cruel tease) and total disregard for basic musical grammar (and i'm not even talking about 'complicated' things like counterpoint) make the whole second and third act a total miss, up to the Mummy Suite at the end. And this is really all you need, honestly. 
 
So Tyler has written an enjoyable opening to a blockbuster score without too many musical airs - bodenständig, as the germans say - that is comprised of the cues 1 - 8 and is capped off by a nice, rousing finish (the 10-minute end title suite) which makes a total of 30 minutes, a good old 90's Varése release. When Back Lot music expects me now to do their dirty work wading through hours of what sounds like rough undefined sketches that still need three or four rounds of shaping they should offer me some producer credit, too. Because that's what those guys are usually paid for.

a) I love your commentaries on stuff
 
b) I don't listen anymore to those scores that seem meant to be bad most of the way trough, I don't want to spend hours looking for tiny stuff. Apply the deluxe treatment to good and great ones and be done with it.
 

Looks like the same dull boring gameplay that made the last game garbage. Nice visuals but running around a tiny map with no cover just trying to blast everything gets old EXTREMELY quick. Too bad Star Wars games have turned into this sort of boring shoot-die-respawn-repeat-repeat-repeat-repeat grossly over expensive nonsense. Wkae me when a game with actual story and substance arrives. I'm going to guess that will be Lego The Last Jedi. 

Why does this guy like Wonder Woman so much?  I've yet to be impressed by anything Rupert has done, including this rather unimaginative work (although I do like the Zimmer theme).  His score for The Crown last year is one of the worst major tv soundtracks of recent memory.
 
I remember the rave reviews the awful Jungle Book score was getting last year, another score whose most memorable musical moments are borrowed from a different film.  Standards have slipped so low.

The trouble is, I do. Along with Goldsmith, Horner and Elfman "level of greatness". 
 
When you grow up with those guys underscoring your superheroes, nothing else really compares. In fact, everything else sounds crap next to it. That's not my fault for "having unfair expectations". It's just the state of the industry. So no, I won't be "fine". 

Strange article; the great majority of superhero scores I listened out for in recent years have been fucking useless. 

To Kill A Mockingbird (Elmer Bernstein, original recording)
 
 
Sounds like Bernstein was experiencing problems with his Windows XP recording software!

I listened to Man of Steel last night, really powerful score.

I've been listening to both Goldsmith's and Silvestri's Mummy scores non stop over the past few days. Wow, they are so good! So much character and enthusiasm.
 
I listened to Tyler's score today and it is so boring in comparison. To be fair, it has that big orchestra and choir sound and it is bombastic but pretty simplistic and anonymous. It might grow on me, but I'd rather just listen to Goldsmith and Silvestri again because I know I can't go wrong. I was expecting TMNT with an Egyptian flair. Sadly I'm disappointed.
 
And Wonder Woman's WW1's setting had a great opportunity for a old fashioned orchestral adventure score but we unfortunately got a score that was even more boring and was a complete non-entity within the film except for that now famous electric cello inserted at a few key moments. Such a disappointment from the summer so far. I hope Giachinno, Desplat and Zimmer will rescue it later.

There's a certain charm to the Prequel's ineptitude. It's like the makers of those movies were living in a world of their own. Their flaws, while many, are not generic Hollywood flaws. Their inept tone is quite unique.
 
The Hobbit trilogy is one cliché after the other. Its flaws, of which are many, are pretty much common to most crappy movies of this sort. They are therefore much less unique. Many movies suck in the very same way as the hobbit movies. But not many, if any, movie can suck in the quite same tone as the prequels do. And besides, those were not needlessly streched into 3 movies nor were they based on a much loved book. Plus, they were scored by John Williams, and that's a major plus

Agreed!  And man, that snarling low brass setting of Rey's Theme when they start fighting is BAD. ASS.

The first score, Philosopher's Stone, is still the best overall.  While I love the new themes on COS (Fawkes, Dobby, etc), and set pieces on Azkaban like Buckbeak, Womping Willow, etc.  Azkaban is a masterful score, and even though I adore it, there's something about the flow of the first score and it being our introduction to the Potter musical universe that has always been perfect.