KK

I get what you mean. But I also think film and book can exist as separate entities that are doing their own things. Great adaptations can eschew plot and detail if it best distills the essence and ethos of the original work. Otherwise, it's just pointlessly miming narrative arcs and plot devices...which is what I feel most adaptations are these days.

Indeed. I wish the score gave us more of this: Otherwise, it's mostly a dull blanket of sound that smothers the intrigue out of many of the compelling visual cues the film offers.

For all the textures he and his team has amassed, the core fundamentals are just not very interesting at all. And I don't think it works that well in the film either (it's far too present). There are definitely cool sounds in there, but it lacks any real shape and definition, at least in film. I wish the actual film underscore leaned more into some of the bolder choices made on the sketchbook.

Why? Why does everything have to be a show? Especially these massive properties that really benefit from a real cinematic theatrical experience.

Well we don't know in what capacity Shore will be involved. But him writing some themes which be expanded upon by McCreary (or others) sounds like the most likely scenario, a la Williams/Powell and Solo.

Is McCreary the series composer that you were informed about Chen? Or is there another name you're still sitting on?

Well it's definitely some kind of central identity, since "variations" (if you can even call it that) of that been in all the music teasers so far. It's generic crap. And does nothing to whet the appetite for a new Batman score.

It's a pretty straightforward narrative adaptation without some of the "pretentions" of those other films. So in that sense, it's entertaining to watch Villeneuve's aesthetic sensibilities blown up to such massive proportions.

From what I remember in the film, I doubt anybody is missing anything of real worth...

Now that the score is out, my friend and I had to resist cracking up when this cue was playing on screen...It was so ridiculously pulpy and over-the-top!

But not nearly as effective. I presume that Villeneuve has captured a lot of detail here that will delight fans of the book. But with some heavy trimming and plot reshuffling (that would probably piss off the loyalists), a single film could have possibly been enough. I'm on board with the two film setup, but they should have redesigned a new ending for this first one.

That sounds transcendant. There was some Ligeti-esque choral stuff in the opening prologue, but it was mostly insubstantial. The whisper/shriek vocal stuff for the Bene Gesserit is actually a cool idea in Zimmer's score, albeit a brief one. That and some neat synth stuff here and there. But most of it is just so bland for the scope of this world. And I don't understand why Zimmer needs to blast EVERY moment with his massive drums or a drone...lighter touches could definitely have given greater shape in the film's more evocative moments.

On the contrary, this might be the most promising Nolan picture yet. A character drama about the man who created the means for mass destruction? Plenty of scope there.

Dune Sprawling, gargantaun and pretty much everything I expected it to be. And yet...it feels kind of empty...hollow, even. I enjoyed it, but I'm not sure I loved it. At the very least, it definitely has a third act problem. Also, this film deserved a better composer. God, with all the soaring visuals, the score is really such an unimaginative turd.

It seems fun. Although I don't really like the look of it in parts, and the Alice in Wonderland trope does seem like such an obvious angle to hit. But seems like it'll be super-meta with its mythology, which I'm down for. Also see no good reason why Laurence Fishbourne couldn't have at least made an appearance in this.