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Chen G.

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Everything posted by Chen G.

  1. It makes sense for him to die in what is (well, was) a concluding film. This one isn't. And Yoda's death is super rushed, as well. If you want to talk about a filler sequence, Jabba's palace is just that.
  2. Well, since we spent our time in Ach To with Luke, it isn't easy to decide whether its the theme for the locale, or just a variation of Luke's theme. Now that's good!
  3. What's so good about "fun" movies? It mitigates the emotional stakes, and as a result can never deliver the same kind of poignancy as a more serious film. Its just juvenile and escapist.
  4. In this sequel trilogy, we are getting a lot of solo keyboard instrument moments (from Rey's theme on celeste to Leia's on piano here) so its not too out-of-character, and - when used sparsly - I like the juxtaposition between lush scoring with large (well, relatively large) orchestral forces and solo piano at the end.
  5. I dunno about 5-10 years, but there was always going to be a time gap between those films. You can't make two films in a trilogy end in an unresolved manner. Its too much. The other one has to have at least a temporary sense of closure and the final one tends to get bogged down in trying to wrap everything up.
  6. So its not a suite per se, just part of Williams' trademark medley of themes from the movie? I have to say, if there indeed are no dedicated concert suites, that's unfortunate. Its one of my favorite aspects as to how Williams constructs these albums. There's something nice to having this straight-forward, long-lined presentation of the theme and nothing but the theme, that helps the listener pick it up better in the underscore proper. It also serves (in terms of its position in the album) as a nice entr'acte of sorts.
  7. The complaints this far are very specific and don't seem ridiculous at all: the main one, and it seems quite unanimous, relates to the Finn-Rose storyline, the aesthetic of the setting and the sequence's implication as to the film's overall pace. Some people also seem to feel that some of the humor, while funny, is out-of-place, and that some characters (Phasma, etc) still don't feel fleshed out. I'll hold my judgement untill a see it, but its good to have context.
  8. In recreating a piece of music faithfully, there's an advantage to a piece such as the Star Wars main title, in that all of the players probably have an engrained sense of how it is supposed to sound like. But there are nevertheless variations in the sound. They're not that minute.
  9. Well, they amped-up the orchestral forces in the prequels. The string section is fuller than the "original" trilogy or this one.
  10. I'm actuall pleasantly surprised to see that critics, and especially the low-end YouTube critics, are not just losing their minds and heaping praise on this film in a way that they did for The Force Awakens. The novelty of getting new Star Wars films has started to wear off, it seems, and this vein of internet criticism is better off for it. People, across the board, seem to be having issues - albeit minor ones - with the Finn-Rose story and its contribution to pacing, and I've heard some complaints about humor and lack of fleshing out characters such as Phasma. Whereas in The Force Awakens, people were much more forgiving to flaws such as the late introduction of Starkiller Base, the distracting Rathtar sequence, etc... Its funny, I do think this film (and Rogue One) helped in driving home the deriviative nature of The Force Awakens to a lot of fans that were previously enamoured with it. In one sense, its perfectly natural: critique is, by its nature, comparative.
  11. You were probably thinking about castrato, but somehow I doubt that's in there....
  12. A mixed chorus of men and women: Soprano, Alto, Tenor, Baritone and Bass. I was expecting an all-Basso Profundo choir like in The Force Awakens.
  13. The internet criticism across the board isn't being kind to the Rose-Finn storyline, that's for sure.
  14. Rotten Tomatoes isn't the best measure of quality. I'd much rather take a couple of film critics, from the populist to the cerebral edges of the spectrum, and see what each of them thinks in depth.
  15. Stuckmann is certainly operating on the more "populist" level of film criticism, but I'm actually surprised to see someone who is a huge fan of Star Wars be very balanced with his judgement of the film. I expected him to give it an A+. He ended up giving it the same grade he gave The Desolation of Smaug. I'd wait for the more cerebral guys to have their say, though. Although those, too, are not always without their fan-bias. The criticism of the Finn-Rose plot line seems quite universal.
  16. Alright, than. It sure delivers in terms of not being expected. I wonder how it will all play out in retrospect after we see episode IX.
  17. Is there anything appearant that is new to the series in terms of instrumentation? Its just Luke's theme! Its played upside-down.
  18. That's part of my issue with scores that insist too much on their "main" theme. Rey's theme must recur over twenty times in that score!
  19. That's because its not Finn's theme, per se. Its a recurring motif for the comedic beats of the early action scenes, which tends to coincide with Finn's "scared-out-of-his-living-mind-of-what's-happening" behavior. It really is a very single minded score. Rey's theme is the absolute centerpiece, to a fault.
  20. Yes, for now we are seeing responses to the film that either lack perspective or are from people who were always going to find this film great.
  21. I mean the moviegoing public, not people who are preconditioned to single out the music.
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