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Arpy

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Everything posted by Arpy

  1. Nice of Darcy to show up to hit Hayward, she must've been in that van for days driving around until the writers needed her again...
  2. The biggest issue I've had with this show is that Wanda is essentially a non-character, we know little of her life beyond the films and when we are given brief flashbacks of her life as a child living in war-torn Sokovia, they're so short and cheap that they barely leave any impact. The best characterisation this show has to offer is the idea that the Scarlet Witch is some cosmic entity that is acting through Wanda and that Agatha whilst power-hungry was also terrified of what Wanda had unleashed. Did anyone else think that the Illusionary Vision was going to merge with the White Vision to become the newly restored Vision?
  3. Some wonky CGI work in this finale, probably blew their quota throughout the rest of the season. Was sad to see Agatha defeated so quickly as I loved her opposite Wanda, and the dynamic between the two. I'm hoping if she returns, she can save Wanda from the corruption of the Scarlet Witch? Who knows?
  4. Powell, JNH and Harry Gregson Williams are at the top - the rest are mutated Zimmerlings, spawned for the purpose to supply background music. Their Master, HANS has a tight leash on them and only lets them out if they can successfully escape the Remote Control Productions offices in a timed challenge devised by Lorne Balfe, the android.
  5. Howard Shore had those crude midi demos made before recording, it's not unreasonable to think some of Williams' stuff has been demoed too (didn't The Book Thief have demos IIRC?).
  6. The symphonic/orchestral score "says" too much in the more rapidly changing film world. There's more of a shift towards both realism and minimalism these days that leaves little room for the theatrical nature of a film score to be anything more than a supporting act in the background. Also, there's a disturbing tendency to return to letting source (pop music) take precedence over the actual score these days that also further restricts the presence of a score and the freedom of the composer to write something that has a voice. Whilst I admire Holkenborg's candor and his clear appreciation for the old composers, I can't help but feel as if his mish-mash Zimmerian scores are like the after-images of a film score that are applied to the films like a drop 'n drag library for the sake of having more noise. I think we're in the dying days of the traditional film score, but I think there's some hope especially when I see in all corners of the internet, and in life, a fondness and nostalgia for composers like Williams that the spirit of the symphonic orchestral score will be revived in some way or form.
  7. The Master comparison was a stretch, but the overall tone is the same; an ancient nemesis revealing him/herself to be behind everything all along and trapping the hero in their schemes. As for the bombing - it's all within the same scene and all of her family are watching television when the bomb hits; we see Wanda and her brother propelled forwards with the blast. It makes one wonder whether the father was smuggling DVDs in instead of supplies: Wanda's Mother: Oh thank goodness you made it back safe, did you manage to get those meds we need? Wanda's Father: No, but I got something better *pulls out a DVD of Malcolm in the Middle*
  8. Malcolm in the Middle was early 2000s, but DVDs can exist in any time. I thought this was the best episode so far, all the Agatha stuff was reminiscent of The Master's return in Series 3 of Doctor Who. One ridiculous thing is how they show Wanda and her family enjoying TV shows then they look out the window to show open warfare on the streets??? They were waiting to be blown up I guess...
  9. I've always thought Adventures of Han was closer to Silvestri's Back to the Future theme. They both have the same triumphant, swashbuckling swagger to them.
  10. Luca sounds like a good project for Giacchino to score.
  11. All the SWORD stuff is just tired self-parody at this point - more anonymous government taskforces up to their usual business. I think like Quintus, I was drawn into this show because it offered a different premise to the standard Marvel fare. Haven't we got to the point now, after a decade of the MCU, that all this pomp and circumstance of superheroes (not just in Marvel) is just retreading old ground? Even the anti-hero entertainment is dragging perilously close to that line of becoming just as mainstream and omnipresent as the regular superhero crap. The way the MCU operates now is that you must digest all the content prior to viewing the new shows otherwise it's all meaningless. Easter eggs and all those hidden things are what this entire enterprise has been based on, nothing more than self-referencing and allusions to the rest of the universe to suggest something bigger than it really is.
  12. JW: Cassette sales are down honey, I don't think we can make it another winter if they don't improve. We might have to let the music box release slide this year and hope to god vinyl pulls us through...
  13. When Monica breaks through the barrier and later does that superhero force smash, I think I then was awoken to the fact that this is eventually returning to the rest of the MCU shenanigans and tired superhero dreck.
  14. Now that Agnes is out of the bag, I can say I loved seeing her reveal, especially in her Haunted HouseTM replete with spooky trees and a magic spellbook hidden in her basement.
  15. Just realised this ascending figure, first appearing in Fleeing Kijimi (0:10 - 0:14) makes another return later on: Then again under Ren's transformation to Ben in Parents (1:24 - 1:28) then again, more hurried at 1:34 - 1:41:
  16. Someone showed me the trailer yesterday, all hyped that this was finally coming... ...needless to say, I thought it looked like one giant pile of shit, like it was a convincing AAA video game trailer. Shots of Cyborg so close-up are disturbingly poor in their execution and make him look more fake than he did the first time. I mean look at this crap - it's pre Iron Man 2008, it's worse than that; it's something from before Transformers!
  17. I wouldn't say Tomorrowland or John Carter are bad films, just undercooked and in both films there are genuinely good ideas that for one reason or another didn't play out the way they could've. Jupiter Ascending is just gibberish. The Last Airbender has a phenomenal score to an atrocious film - it's insane the disparity between the two and it makes me weep to think that such a great score was wasted on that awful adaptation.
  18. Let's say Abrams temped the film with these tracks from Battlefront, I doubt Williams would've stuck to it to such a degree as to almost plagiarize Haab. The more likely answer seems to be both composers are writing in a similar style, besides are any of those examples original to how Williams' has written for the series before?
  19. There's a lot of charm in Order of the Phoenix and it's always unfavorably compared to the efforts of the last two composers, which is somewhat unfair. My appreciation for Hooper's scores has grown over the years. Doyle's score is sublime - it's big from start to finish which I think reflects the drama of the Tournament and the feel of that film so well. I'd love an expansion of that score! Desplat's scores sort of continue from where Hooper left. They both have their moments but feel somewhat diminished in size and impact for the final chapters of a film series. There's some tonal clashes here and there where they track in re-recorded Williams' themes that stick out instead of blend in comfortably.
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