HunterTech

Funnily enough, I was listening to some JL tracks, and suddenly this particular cue gave me "Alone" vibes that hadn't jumped out at me prior. Not sure if this particular exchange influenced my thought process afterwards.
 
 

I'm a bit surprised with quite a few agreeing with my assessment of the DH scores being very RCP esque in spots. I concede that separate from HP, it's alright. They're certainly more fitting in a Bayformers movie (I tend to think of "Autobots" myself when comparing "Obliviate"), and I like some of the scores in that series. It just feels wildly out of place for something that started off so magical and full of life. Even as it did switch hands initially, there remained an effort to try and maintain it in whatever manner allowed. And by the time we reached the end, all that really stood out were any tracked reprisals and one or two bits from the actual underscore. I don't really mind that anyone did replace Williams, but the fact only one score felt like it got anywhere to the level of the first 3 says a lot.
 
I'm still curious in hearing JNH's Fantastic Beasts scores, even if I aware it's not exactly his best stuff. The few samples I've heard makes it more in line with the stuff I'd like to hear from the series, which is pretty encouraging.

Can't say they sound particularly similar. The whimsy in Desplat's track definitely sets it apart from the melancholic mood Elfman was going for. That bit of instrumentation you highlighted is a bit close, but that's about it.
 
Honestly, it reminds me more of the first minute and 40 seconds from this Oldfield track:
 
Admittedly, I think it's more the general vibe than anything the track does composition wise, but it stuck out to me nonetheless.
 
Also, where was any of that in Desplat's HP scores? Would've enjoyed those far more if there were more moments like the Benjamin Button track. Good stuff!

Well your feed must've been skewered to the more positive, since the ones I saw were mixed out the gate. I more look at BvS as an example of not trusting early reviews.

Is this the part where my potential reputation goes down to shit by saying that I actually like Hooper's HP scores over Desplat's? I acknowledge the latter is the superior composer, but the DH scores feel like RCP lite in terms of their general approach (moreso 2 than 1). While neither OotP or HBP are what I'd call great, there are cues and ideas that do speak to me more and could work better in a more fleshed out effort. Though both ultimately do pale compared to Williams and Doyle.

Is this the part where my potential reputation goes down to shit by saying that I actually like Hooper's HP scores over Desplat's? I acknowledge the latter is the superior composer, but the DH scores feel like RCP lite in terms of their general approach (moreso 2 than 1). While neither OotP or HBP are what I'd call great, there are cues and ideas that do speak to me more and could work better in a more fleshed out effort. Though both ultimately do pale compared to Williams and Doyle.

I mean, if you haven't heard anything action oriented Balfe has done, it's serviceable enough. Still, it's just too serious for what the film is presumably going for, especially if they are going to utilize the theme from the first film. Not to mention that with so much of the action material being scattershot and disorienting, even being as mercifully short as it is doesn't stop it from feeling exhausting. I might change my mind on a second listen, but this isn't a mode of LB that I like.

That being said, it does make me interested in the first two BB entries, since I think 90s/early 2000s MV works from what I've heard has a particular charm that later RCP works severely lack.

Quite frankly: didn't even notice that they were in the film. That's embarrassing for something that got some degree of mention in the marketing.

I still found it odd how everyone had such different perceptions over how the music was mixed in the final film. I was able to hear a lot of it fine, while some claim that SFX regularly drowned the score. I'm sure that the more expansive mixes like the Dolby Atmos one puts more emphasis on the "immersion," while the normal 5.1 set ups are more balanced in general.

I get the feeling that the smaller the sound mix is, the more likely the score is actually going to be present in the mix. The speakers at the theater I went to were pretty crappy, but I found that the music jumped out at me a lot of the time. Since some here have mentioned SFX taking over the mix in spots, I get the feeling that's done with the fancier set ups like Atmos to try and emphasize how "immersive" the 7.1 is.
 
As for the score in the film itself, yeah it's been edited to hell. It's only really at the end that I actually heard any of the new stuff. So much of the older themes were prioritized that I'm not particularly surprised when some say that it was completely underwhelming. The OST I found to be far more of an intriguing listen, since I did get to feel more of what Williams was aiming for. The final film edit isn't too bad overall, but there's no real definitive identity I could get from it in a way I feel I could with previous films.
 
As such, I'm much more interested in hearing everything Williams originally wrote instead of a possible isolated score.

So we have official confirmation that James Bond is in fact a man.

Knives Out (2019)
 
Man, what a great film. Perhaps I haven't seen enough media, but it really felt particularly distinct in its presentation. From the central character to how the mystery ultimately unfolds. I got great satisfaction once it came to the final frame of the movie. I don't hate TLJ, but I will admit that it definitely didn't do Johnson any favors in terms of how he usually presents himself. It'd be really hard if you didn't find at least aspects of it to be very likable.

Final Fantasy: The Spirits Within (2001) - Elliot Goldenthal

This one definitely took a while to grow on me. Part of it has to do with the fact it's not motif driven in the traditional sense. They're definitely there, but it more sneaks up on you compared to other stuff I've heard. Really admired the orchestration and some of the grander moments this time around. Probably still not my favorite Goldenthal score currently, but it's certainly one of his best. Do prefer SonicAdventure's DE over the proper complete though. The added bits are nice enough, but I appreciate the flow of the album more.

Final Fantasy: The Spirits Within (2001) - Elliot Goldenthal

This one definitely took a while to grow on me. Part of it has to do with the fact it's not motif driven in the traditional sense. They're definitely there, but it more sneaks up on you compared to other stuff I've heard. Really admired the orchestration and some of the grander moments this time around. Probably still not my favorite Goldenthal score currently, but it's certainly one of his best. Do prefer SonicAdventure's DE over the proper complete though. The added bits are nice enough, but I appreciate the flow of the album more.

I'm confused about this whole Skywalker/Palptaine thing going on. It's quite clear at this point that Rey is a Hufflepuff, or at the very least Dumbledore's long lost sister.

Peter Pan (2003) - James Newton Howard

Some pretty good moments in an otherwise fairly serviceable score. Would maybe like to hear it again at some point, since I'm not quite convinced I've given it the proper attention in the times I've heard it. Probably should get to some of his other stuff in the meantime.

After so many years of SW rumors coming and going, we're suddenly believing them now? Sure, you can tell me how RO and Solo had their production issues, but I'm not really buying any of what I've heard so far. Anything that says the version of the film Lucas put forth some last minute fixes being the best received of the lot reeks of fan wish fulfillment.

After so many years of SW rumors coming and going, we're suddenly believing them now? Sure, you can tell me how RO and Solo had their production issues, but I'm not really buying any of what I've heard so far. Anything that says the version of the film Lucas put forth some last minute fixes being the best received of the lot reeks of fan wish fulfillment.

After so many years of SW rumors coming and going, we're suddenly believing them now? Sure, you can tell me how RO and Solo had their production issues, but I'm not really buying any of what I've heard so far. Anything that says the version of the film Lucas put forth some last minute fixes being the best received of the lot reeks of fan wish fulfillment.

After so many years of SW rumors coming and going, we're suddenly believing them now? Sure, you can tell me how RO and Solo had their production issues, but I'm not really buying any of what I've heard so far. Anything that says the version of the film Lucas put forth some last minute fixes being the best received of the lot reeks of fan wish fulfillment.

After so many years of SW rumors coming and going, we're suddenly believing them now? Sure, you can tell me how RO and Solo had their production issues, but I'm not really buying any of what I've heard so far. Anything that says the version of the film Lucas put forth some last minute fixes being the best received of the lot reeks of fan wish fulfillment.

Look, if they can't even figure out the regular continuity in-between some of the films, then I'm not sure why people still think Marvel could've ever tackled proper musical continuity. And this is considering Endgame is probably one of the better films in referencing past identities.

To my ears, they both sounded very similar, so you could easily take either one. However, if going purely by technicality, I'd still go for the 5.1, as the data is at least legit all the way through. Besides, I think a cut off is only truly bad if its at or below 16 kHz, since that's where the compression will be more audible. What's basically HQ MP3 quality should be pretty serviceable to most.

For comparison:

HE-AAC untouched:

HE-AAC decoded:

AC3 5.1 downmixed:
 

To my ears, they both sounded very similar, so you could easily take either one. However, if going purely by technicality, I'd still go for the 5.1, as the data is at least legit all the way through. Besides, I think a cut off is only truly bad if its at or below 16 kHz, since that's where the compression will be more audible. What's basically HQ MP3 quality should be pretty serviceable to most.

For comparison:

HE-AAC untouched:

HE-AAC decoded:

AC3 5.1 downmixed: