Yavar Moradi

Yeah, Paesano's work on the Spider-Man games is really good. Some really strong themes in there, so I'm looking forward to hear what he has done for this. I've only listened to the first track and that new Discovery theme already feels like a development of Giacchino's theme for humanity from the previous films, and then there's also the Goldsmith references, so it's great that he's respecting what came before him!

TWO HOURS! "It's a MADHOUSE!".
 
Oh well, I expected it to be one of those excessive things, but I feel confident it's possible to whittle this down to a solid 40 minutes or so.
 
In addition to the hunt music (which wasn't verbatim the Goldsmith, but close), there was also some of that Goldsmith search music approximated.

You’re completely right, and Egyptian is another score of his that I like (to an extant). I believe Marnie was another.

You ask Mike Matessino he probably thinks the Sony Star Trek: The Motion Picture was pretty close to a bootleg. And the 3 disc TMP had the alternate (wrong) takes because the Sony disc had them. (That's all I've got.)

nobody like the fantastic  performance of  ( the late )  Toots Thielemanns ??
 

I have to admit that I find Tiomkin hard going as well. It’s often so busy and relentless, even from an era when scores were pretty busy his stuff is especially relentless. He's certainly not a composer I often think to dig out and listen to. Having said that, I really like his Old Man and the Sea score although the fact that it’s a bit more understated probably helps. Bruce Broughton wrote an equally terrific score for a much later version. 

I do like a few Herrmann and this is one of them.

I would never have been able to connect all of those dots but I clearly picked up on the vibe and I like it. I read All Star Superman and it was OK. My favorite Superman of the last 30 years was Superman for All Seasons. My favorite Superman EVER was in the two novels Last Son of Krypton and Miracle Monday. And I can get all of those Supermans from this.
 
I don't like the collar and I recognized it from The New 52. But that's a minor quibble. I didn't like the more closed neckline in Superman Returns either.
 
And may have been being snarky when I pointed out in a previous post that it was a still, but seriously. If this was motion and he was just casually and slowly putting his stuff together I could see the complaint. But this is a still and it's not us putting on our shoes, it's Superman. He's going to be faster than a speeding bullet.
 
There's a lot of stuff I think Gunn can screw up (wholesome is not on my list of his most prominent film making ticks) but this pic ain't it.
 
 
Oh, and "Agree".

This is an interesting take on Supes' new suit. Agree or disagree?







 
 

Or THE DAY THE EARTH STOOD STILL. That score is really hummable. 

I like some of the songs like “Over the Rainbow” written by others, but I hate his score. That Wicked Witch motif in particular is sooo obnoxious it haunts my nightmares. And as a classical music fan, I can somehow handle 95% of James Horner’s classical lifts and still enjoy his scoring, but when Stothart helps himself to the classics I just hate it every time.
 

I debated whether to include him as a Golden Age composer. A few of his scores like The Buccaneer and The Ten Commandments are clearly Golden Age and he did start his film music career in 1951, but the bulk of his output was Silver Age, into the Bronze/Modern Age (his final original score was for a 2004 documentary film!) I see him more as a contemporary of Jerry Goldsmith and John Williams than I do the other Golden Agers I listed. Jerry Goldsmith’s first feature film score Black Patch was 1957 and Williams did Daddy-O in 1958… so do both of them count as Golden Agers too? Jerry’s 1958 score Face of a Fugitive has some elements which sound very Golden Age, and maybe the gorgeous central theme in Black Patch would qualify as Golden Age in sound too, even though much of that score is more spare/gritty and Silver Age-sounding…
… I do feel bad for leaving off Andre Previn though. He’s another favorite.
 
 
Hey, Herrmann’s not for everyone. Do you not even like his more melodic/romantic work like The Ghost and Mrs. Muir?
 
Yavar

I really need to watch the second and third ones as I recall enjoying the first. All that have pretty decent scores, Patrick Doyle fairly far out of his natural range but doing a bang up job and Giacchino turning in some of his best work of the period for the other two. However I don’t think any of those three scores are as distinctive as either Jerry’s original or Danny Elfman’s for the 2001 version. I need to listen to the 60s/70s sequel scores again as I don’t really recall them at all. The music for the tv series was pretty decent too as i recall. Looking forward to hearing what John Paesano has come up with for this new film but have to admit that the only thing I have really liked by him was his Avengers theme park music obviously based on music from the various movies. 

I like the prosthetic make up, Tim Roth and the score.
 
Karol

That's the thing, dude; I don't like POTA (2001), I never have, and I probably never will.
I do, however, appreciate aspects of the film.

Mmmmmmaybe... Dude, not even North by Northwest?

I feel similarly, I like the majority of these golden age composers (especially Rozsa and Kaper), but there’s a few who don’t click, like Tiomkin and (forgive me) Herrmann.

Okay, I admit I also enjoy Land of the Pharaohs as sort of a guilty pleasure.  
 

Nope! I adore the Golden Age and have explored it a great deal. I own almost every FSM Golden Age Classics album. I consistently love the work of Miklos Rozsa, Alfred Newman, Roy Webb, Franz Waxman, Hugo Friedhofer, Bernard Herrmann, George Duning, David Raksin, Ernest Gold, Sol Kaplan, Bronislau Kaper, and many others.
 
I just don’t care for a lot of Tiomkin or Steiner. Dislike most Stothart (but Dragon Seed is excellent… I wonder who wrote it for him, lol!) and I’m kinda mixed on Victor Young.
 
Yavar

Golden age scores are much closer to Classical Music than silver age and modern day filmmusic. Many of the GA film composers started out as classical composers, so their compositions can be enjoyed as classical music as well as filmmusic. 

I wish it were a matter of them being merely less interesting. But when you portray Anakin Skywalker first as an annoying little goofy kid, and then skip right to him being a weird incel creep who can't stop whining all the time, you aren't upset at all when he turns into Darth Vader! That was supposed to be the whole crux of the prequels! A fall from grace!
 
And when his turn actually happens in the much-overrated Revenge of the Sith, it is the worst thing ever. One minute he's onboard with stopping Palpatine, but saying he deserves a trial, in principled fashion. The next moment he's chopping off Mace Windu's hand (essentially dooming him to death), AND LITERALLY A MINUTE LATER IS MURDERING CHILDREN. "Whoops, I messed up that pretty bad. Okay well I guess I'm ready to MURDER CHILDREN for Palpatine now. Might as well."
 
It is utterly, utterly the worst execution this story could have received. Say what you will about the sequel trilogy. Say it's Disney-fied (I'd argue that even the original trilogy already got there, with Return of the Jedi). Say it's inconsistent and they should have planned it out in advance with a unified story vision (I both agree with this and will point out the original trilogy didn't have this, yet made it work pretty well.) Say that The Rise of Skywalker is an absolute mess of a movie (it really, really is!)
 
But one thing it did consistently well (though not perfectly, TRoS!) was the rather Anakin-like character of Kylo Ren. I mean, he's not remotely how I would have pictured Anakin Skywalker as described in A New Hope by Obi-Wan Kenobi. But is feels VERY much like the more compelling, better written and acted version of what George Lucas was trying to go for with Anakin in AotC and RotS.
 
Yavar

Heh. Me. That's why I focused my positive energy on other subjects.  But I'll still listen to the sound clips. I admit I do enjoy his Gunfight at the O.K. Corral. My other favorites are probably 36 Hours, The Alamo, and The Fall of the Roman Empire (thanks to Tadlow/Prometheus for winning me over to that one, even though I still don't think he's even remotely in Rozsa's league). The Old Man and the Sea is pretty good too.
 
High Noon has *one* really good cue in it (the one building up to the titular hour), but the rest of the score I think actively distracts in the movie. Here's a great podcast explaining why it really doesn't work:
https://www.settlingthescorepodcast.com/17-high-noon/
 
Dial M for Murder is just okay, for me. I was a Kickstarter backer for the Intrada rerecording just because I wanted more such recordings to happen, but I honestly never play the disc. I'll easily take it over the horrible Shadow of a Doubt, though, which largely ruins that movie for me by being so overdone and awkwardly clunky. In general I think Tiomkin gives the Golden Age a bad reputation, due to how overbearing and unsubtle his music tends to be. (Steiner is usually in that boat for me too, but he could write a really good theme.)
 
Yavar

Superman II will always be my #1 answer to this. I like Ken Thorne in general but he had a thankless task on this assignment, which I guess he did about as well as anyone could do...but it wasn't the original score the film needed.
 
Oh, and the Nuclear Man theme from Superman IV effin' SLAPS! (I like the other two new Williams themes for that score as well.)
 
Yavar

Heh. Me. That's why I focused my positive energy on other subjects.  But I'll still listen to the sound clips. I admit I do enjoy his Gunfight at the O.K. Corral. My other favorites are probably 36 Hours, The Alamo, and The Fall of the Roman Empire (thanks to Tadlow/Prometheus for winning me over to that one, even though I still don't think he's even remotely in Rozsa's league). The Old Man and the Sea is pretty good too.
 
High Noon has *one* really good cue in it (the one building up to the titular hour), but the rest of the score I think actively distracts in the movie. Here's a great podcast explaining why it really doesn't work:
https://www.settlingthescorepodcast.com/17-high-noon/
 
Dial M for Murder is just okay, for me. I was a Kickstarter backer for the Intrada rerecording just because I wanted more such recordings to happen, but I honestly never play the disc. I'll easily take it over the horrible Shadow of a Doubt, though, which largely ruins that movie for me by being so overdone and awkwardly clunky. In general I think Tiomkin gives the Golden Age a bad reputation, due to how overbearing and unsubtle his music tends to be. (Steiner is usually in that boat for me too, but he could write a really good theme.)
 
Yavar

I was the lucky number 4 on this one 😉

Not sure how well they work printed (plus they contain some placeholder text). https://drive.google.com/drive/folders/1bIMPyI34ABAT6M4SwbsMP2xlpfrFNnBD?usp=sharing