Giftheck

It just seems odd, if that is the case, to include nothing for Electro, one of the villains they revealed fairly early on, yet include material for Tobey and Andrew, even though they keep denying they're in the film.

I recently commented on the Ghostbusters: Afterlife score that it's a successful marriage of classic themes and new material. Well, after listening to this one, I would say this score represents the exact opposite. This is an example of how not to do it. The scant references to Davis' material feel so out-of-place that, aside from the opening title, they really shouldn't have used the material. Maybe the OST will be a different presentation, but I actually suspect that this is the OST.

Personally, I'm okay with TASM2's score. Some of it's corny, but the main theme's not bad, and the actual composition of Electro's theme is good too. Having said that, hearing them side-by-side, I think Horner's theme definitely fits better with Elfman's theme.

It's been some time since I listened to Horner's score, I'm gonna have to do a marathon of all five scores before. I couldn't hear any of Zimmer's themes, which makes me think Giacchino wrote a new theme for Electro, or else they just tracked it in for the film from TASM2.

Done.

Track 7 has Doc Ock's theme from Spider-Man 2 at the beginning and at the end (3:55) Track 10 has Doctor Strange's Theme Track 12 also has Doc Ock's theme(0:05), and also what sounds like a variation of Sandman's theme from Spider-Man 3 (2:36) Track 18 - Goblin's theme at the beginning, Ock's theme also (1:47). Track 19 - Strange's theme, Andrew's Theme (1:12) Tobey's theme (1:50)

If this is indeed legit, then that music cinches it: that's Tobey's theme right at the end. Also, according to that video, they're using Horner's theme, not Zimmer's, for Andrew.

I assume that it's because they chose Michael Giacchino over Don Davis.

Personally, I judge each on their merits separately. I've known movies that were great but had terrible soundtracks, and vice versa.

I don't think it's bad. Generic as hell, passable is how I'd describe it. Does make me miss Davis though.

Korean character posters confirm that the character Priyanka Chopra is playing is Sati. Source

The way it was edited was definitely not conventional. TBH, that's actually made me even more curious about the film than I already am.

Contractual obligation, perhaps, since they were supposed to go into production at similar times IIRC. He did shave his hair and beard off, though, for scenes in the Real World. He's since grown them back. It does seem to be his look these days though. Even in Cyberpunk 2077, his character model retains the long hair and beard.

He trusted Mike Mattesino enough to do practically everything else (apart from Indy), is that not good enough here? 🤔

Sony's sites don't even appear to be working, so how do we even know what they're putting up for consideration 😂

It's more likely that they're laughing at

I like the Rogue One score for sure, but I definitely agree. He's integrated other composers' themes far better in different projects. I would say he did it much better in Jurassic World Fallen Kingdom. Rogue One definitely fell short of that mark by a considerable margin.

giantfreakinrobot, We Got This Covered... all the same boat. It's fake.

When somebody bumps the topic after months but it's not an announcement.

I genuinely forgot to credit you for pointing out where to split "Lab Partners" and for titling the split track, (I should be barred from posting before bed), but the actual list is based on the one I wrote for the Wikipedia article. I rectified the mistake.

Looking through some stuff for the Wikipedia article I put together for the soundtrack CD, and it's no wonder that Simonsen did good with this score. Simonsen got Peter Bernstein in as the score consultant. Also, Cynthia Millar, who played the ondes Martenot in the 1984 score, plays the ondes Martenot for Afterlife too! This is probably my favourite track to incorporate Bernstein's material in the score, it just fits together surprisingly well. The sort of balance Simonsen found with this score, I think, should make Michael Giacchino green with envy. And I say that as a fan of Michael Giacchino.

Chronological order of Ghostbusters: Afterlife 01A - Trapped (0:00-1:03) (Logos) 01B - Trapped (1:03-2:19) 01C - Trapped (2:19-end) (Trap Fails) 01D - Trapped (3:38-end) (Egon Dies) 02 - Dirt Farm 03 - Chess 04 - Summerville 10 - Lab Partners (0:44-End) (Summer School)* 05 - Research 06 - Under the Floor 07 - Nice Replica 08A - Culpable (0:00-0:21) (Punk Rock Science) 08B - Culpable (0:21-0:53) 08C - Culpable (0:53-end) (Haunt Box) 09 - Laboratory 10 - Lab Partners (0:00-0:44)* 11 - Definitely Class Five 12 - Go Go Go 13 - Trap Him 14 - Don't Go Chasing Ghosts 15A - Mini-Pufts (0:00-2:59) 15B - Mini-Pufts (2:59-end) (Keymaster) 16A - Down the Well (0:00-3:08) 16B - Down The Well (3:08-end) (Death Pit) 22A - Callie (0:00-2:08) 22B - Callie (2:08-end) (The Drive Back) 17 - The Temple Resurrected 18 - The Plan 19 - Suit Up 20 - No, I'm Twelve (Gozer Returns) 21A - Getaway (0:00-0:45) (No, I'm Twelve) 21B - Getaway (0:45-1:19) 21C - Getaway (1:19-end) (Keymaster Chase) 23A - Protecting the Farm (0:00-1:34) (Baiting The Trap) 23B - Protecting the Farm (1:34-2:19.5) 23C - Protecting the Farm (2:19.5-4:00) (Lucky vs Gozer) 23C - Protecting the Farm (4:00-end) (Have You Missed Us?) 24 - Showdown 25 - Reconciliation Ray Parker Jr.'s "Ghostbusters" and McKenna Grace's "Haunted House" play in the end credits. * Credit to Turbo's post on FSM for where to split this track, and for the name.

I think it works really well against the film, even the material Simonsen quoted from Bernstein's original score to Ghostbusters works really well - the usage of that material feels like it belongs, it feels appropriately-utilised, as opposed to just being chucked in there as a 'hey, remember this theme?' thing. I don't recall the actual Ghostbusters theme being used in the same heroic context it's used here (I might have to re-listen to the 1984 score again to be sure of that) but I think it really works the way it's used. Simonsen's new material is very evocative of 80s scores as mentioned above. I love that he brought back the ondes Martenot too, using it not just with the Bernstein material, but with his new material too. Overall, it's a score that winds up feeling a lot like something Bernstein could have written (the use of his material notwithstanding), it definitely fits in that musical universe.

I worried that it was going to copy Bernstein's score too much. But it actually balances using that material with new material quite well, I think! Thinking about the ending, truthfully, I'm leaning more towards being okay with it. A thing I thought was actually quite funny in execution:

I didn't know that. However, I did look a description up... I would say that it's 'extra'. It doesn't take away from the closure the film had, at least for me.