TheUlyssesian

CC's review - https://www.filmtracks.com/titles/enola_holmes.html (4 stars out of 5) (maybe he read my analysis ) Pemberton took quite a leap in CC's estimation with this score. CC had reviewed only 2 prior Pemberton scores - Into the Spiderverse and Birds of Prey and he had awarded both 1 star out of 5.

For real. I mean if there is a market for a fucking 4 hour release of a Junkie XL score for a niche superhero film. Surely, surely, surely, there is a market for 4 hour releases of a John Williams score a property as broadly popular as Star Wars.

Some try great scores in there. Shout out to a less famous score. Check out this cue from Gandhi from 3:14 onwards - absolutely devastating. Moves me to tears nearly every-time.

This is neither here nor there. For what it is - Fury Road is a 150 million dollar elaborate movie. You want stripped down - Paterson as a bus driver drive his bus around. A Gentle Creature has a woman trying to deliver a package. Jeanne Dielman has a woman cooking and cleaning her house for 3.5 hours. Ulysses is a man walking around for a day. The simplicity is not the problem. Its unremarkability is (if it ain't a word it should be). Third man is a simpler score than Soul. But is it arresting and remarkable.

I think the point is - even take the movie's premise is a given - what's delivered by R & R is extremely basic - video game and youtube video level accompaniment and not worthy of a thousand awards. It's the kind of score Thomas Newman could have written in his sleep with his brain 90% lobotomized. And you can bet he still wouldn't have won an Oscar for it. The bar for these "new" composers is really low.

Hildur to score of course. She will win the one prize that has alluded her so far - the Nobel Peace Prize.

Memo to Mangold: Fucking finish your edit before you give it to Williams. DO NOT butcher his score. I hope Williams made it clear to Kathy that he's not going to stand that nonsense again.

The articulation and communication of ideas is most important. You can tell a good story with puppets or with $400 million dollar CGI. If the story is good and strong, it will be engrossing and compelling in either medium. The drawing style of Watchmen is of a particular period. The drawing style itself is not the artist's expression, it is how it used is the artist's expression.

I am praising it as a novel - as a piece of architecture and construction and story-telling and theme and character. The density of detail is (to me) absolutely unusual for a graphic novel. It isn't just some pretty pictures slapped on with some text. Everything is so deliberate and economical, every cell conceived with item and delivering an idea and moving the story along. There is so much ancillary material, and text in each issue to expand the world. It is gloriously constructed and tells a story on a grand scale. There is juggling of so many characters and subplots and narrati

Me neither. Literally the first comic I read was until after I was 20 I think. But Watchmen is definitely brilliant. I love my Doestevsky and Tolstoy and Eliot and Dickens and Flaubert and Turgenev and Austen and what have you and I still think Watchmen is amazing. I don't use the M word often but I would call Watchmen a masterpiece.

Snyder's movie is trash. The graphic novel is absolutely fantastic.

Haven't heard the full OST but I figure there's tons of tracking. So not exactly Tom's call, more like Zack's call. And it's not like she doesn't have other music that can't be used. I wonder if there is some subtext to this. Tom almost entirely abandons the Batman and WW themes from BvS and creates new themes for each which he relentlessly sticks to. Was he trying to make some kind of a statement?

I think its grotesque overuse is what destroys the theme. Like if WW so much as takes a breath, that woman busts out wailing on the soundtrack. It is overused to the point of parody. This is a supercut and I can confirm even this is not all the instances of that theme. There are many more in the film. It really is relentless.