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Gustavo Joseph

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  1. A Haunting in Venice (Hildur Gudnadottir), a score that is very good in the movie, creepy and moody, with a few instruments and no bombast. Very solid work IMHO. I think her sound would work very well in horror / psychological thrillers. Not a good listening experience outside the movie, but that's another story.
  2. Apparently no room for an original score on this one, but JW was friends with Bernstein, looks like a project he could have said "yes".
  3. These two did a nice work, the movie works as a musical, they wrote 4 new songs and produced the Billie Eilish one; the best one IMHO is the first, the lyrics and vibe reminded of 1980s songs like Tootsie. It was a smart move let them write the score, it's very integrated with the songs. Ronson & Wyatt are good!
  4. Just saw the movie yesterday, a lot of good things, but much more Oliver Stonish than I thought (not a praise), very bad role for Emily Blunt (a collage of Oscar bait sequences). The score is so present and strong in the film, I doubt anyone can get in the way of Goransson's second Oscar.
  5. Pretty surprising Andor nominated as "main title", as the series doesn't have one, it's always a different music, with hints or sometimes the complete 6 notes Andor main theme.
  6. Before watching the movie I thought the theme sounded really anacronic, after all it's a 1960's woman, but she's photographed and dressed up as woman from the 1930's , and I guess Williams reacted to that, and he's right as usual: fits the movie perfectly.
  7. I'm just so curious to listen to the NY piano-heavy chase music, sounded really interesting in the movie.
  8. Just saw the movie yesterday, great IMAX experience, and the score works really well in the movie, with new themes and also a great homage to Horner. IMHO Cameron did the right thing to hire Franglen, and he delivered it. I have yet to heart it on the album, but the family theme is a keeper.
  9. I'm an Elfman fan, but he was so keen on keeping original themes for characters in Justice League, using music composed for other incarnations and timelines, and now uses Doctor Strange's MCU theme only as brief cameos and creates a new theme for him. Inconsistent IMHO (but a good theme, and a good score).
  10. Just saw the movie yesterday, and the music is really one of the highlights. Even people lefting out of the theater were talking enthusiastically about it. The Catwoman theme is really present, and what a great theme it is. The Riddler stuff is really creepy and reminded me a little bit of giallo, with the solo voice. The Bruce Wayne theme is the longer melody we hear at the Batman track, and the cape cruzader music itself is the 3 notes rhythm we hear a lot of it- really - in the movie. A return to form for Giacchino after the more burocratic work in No way home.
  11. "Don't look up." It's funny and smart, but the denial and incompetence of real life far surpasses that of the movie, at least in my loved country of Brazil S2
  12. Works so well in the movie, will dive in the CD now.
  13. No Time To Die - liked the movie, liked all things Bond-related and didn´t care about Blofeld or Remi Malek. My Craig ranking goes: Casino Royale > Skyfall > No Time To Die >>>> Spectre >>>>>>> Quantum of Solace
  14. Great topic! I remember in the 90's / early 2000's most of trailers used music from other movies, like Randy Edelman's scores from Come see the paradise, Dragon: The Bruce Lee Story and Dragonheart featured prominently in a lot of them, or Bishop's countdown from Aliens, a champ on action movies trailers. These days I don't watch a lot of trailers, not a spoiler fan, but my perception is that they use much more original music made specially for the previews. Is there's some cue or score used a lot in trailers these days? And a great original trailer music is Jerry Goldsmith's Extreme Prejudice.
  15. Old (M. Night Shyamalan) I'm a fan, except for Last Airbender, Another Earth and Glass, and found this one OK. Some nice moments in between, but the conclusion, although clever, isn't well executed IMHO
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