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Crimson Tide


Pieter Boelen
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Crimson Tide (Hans Zimmer)  

20 members have voted

  1. 1. How do you rate this score?

    • 5 stars
      1
    • 4,5 stars
      1
    • 4 stars
      4
    • 3,5 stars
      2
    • 3 stars
      1
    • 2,5 stars
      3
    • 2 stars
      1
    • 1,5 stars
      0
    • 1 stars
      2
    • I'm not familiar with this score
      5


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Every few days I will post a thread on a random score from my collection that we can discuss and rate. I made a playlist on my computer with one track of each score I've got, so by using the random play option, I'll be able to post a truly random score each time. Hopefully this will allow us to discuss some scores that would otherwise never be discussed. Also we can record the rating so that we can create a full list of the ratings given to scores by JWFan.com.

From a really obscure score with not much discussion, let's move into the danger zone. I suspect there will be a lot of fierce opinions on this score that defined a new genre of film music, for better of for worse. If possible please keep arguments to a minimum. The interesting thing is what people think, not who is right. We're all opinionated and there's not much we can do to change each other's opinion. Therefore I kindly request you respect each other's opinions, even if it's in this thread only. Thank you very much. ;)

Today's score is Crimson Tide by Hans Zimmer. Are you familiar with it? What do you like about it? What don't you like about it? How do do you think it works in the film? What are your favourite tracks?

So far JWFan has rated:

See Soundtrack Ratings by JWFan.com.

This web page contains the ratings from all my previous polls as well as those of Blumenkohl's.

Final ratings are converted to a 1-10 rating for both rating systems so that they can be compared.

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I like it, but much more in the film than on the album. The main motifs in the score are qutie solid. 3 stars.

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1 star

Noisy, boring and bland.

I can't believe I was actually talked into buying this album when the film came out.

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The only Zimmer scores that don't truly offend me are his comedy ones but there's nothing really interesting going on in them.

The only Zimmer score that remains in my possesion, aside from the cues on Varese's 25th Anniv. sets, is Hannibal and I know we've butted heads over the one cue I like.

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Why is nothing interesting going on in his comedy scores? If you like them, you like them, therefore they must be interesting to you. You're too critical, too expecting, too demanding. Just enjoy music, every score doesn't have to be a 9th Symphony.

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Mark is one of the most eclectic collectors of film music, he knows what he likes, and I generally agree with him on what he thinks is quality.

I don't think he needs a 17 or 18 year old lecturing him about enjoying music.

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Personally I very much like the main theme to Crimson Tide, but I have been unable to find much else of interest in there. Of course tracks with a duration of almost 24 minutes don't really help either, because it makes highlights extremely difficult to find. It's definitly no Cutthroat Island where the last two tracks are 30 minutes combined and there's no boring part in there at all. I give it 3 stars for the main theme and the fact that it was original at the time of it's writing.

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Why is nothing interesting going on in his comedy scores? If you like them, you like them, therefore they must be interesting to you. You're too critical, too expecting, too demanding. Just enjoy music, every score doesn't have to be a 9th Symphony.

I never said I liked them.

They just don't make me want to ram my head thru a glass window when I hear them.

I do "just enjoy the music", hell I bought Delta Force from Intrada. However I do have standards and stuff I find to not be worth my time I will not mess with.

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Noisy, boring and bland.

Your ear must just be attenuated differently.

Most Zimmer scores I can at least see where people come from even though I may not agree with them. Not so with Crimson Tide.

Crimson Tide, however, is an atypical Zimmer score. It is neither like his comedy scores, nor like his action scores. The bombast is earned, and the score never deafens you. It is Zimmer's most intelligent.

It is closed in, it is personalized to submarines, the integeration of submarine like sounds, the deep rumbles of the ocean. It fits in no other movie but one about a submarine. It is the quintessential submarine score, superior to even The Hunt for Red October.

A stand out piece in the film is as the submarine submerges for the first time...the score combined with the pulsating radar-like strings in the background is sublime...in the most low-key and subtle of ways. This is not a Zimmer score that you just put in to mindlessly enjoy, it is a challenging and intelligent score...and perhaps that's why so many people can't find anything interesting in it outside of the main theme.

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Mark is one of the most eclectic collectors of film music, he knows what he likes, and I generally agree with him on what he thinks is quality.

I don't think he needs a 17 or 18 year old lecturing him about enjoying music.

Age is no argument. I suppose you're gonna start talking about my post count?

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You're too critical, too expecting, too demanding.

If you don't mind, from what I've read from you, you are far too uncritical, unexpecting and undemanding. Quite frankly, I believe you can be tricked into liking anything, as long as it's superficial enough.

Not familiar with Crimson Tide.

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You're too critical, too expecting, too demanding.

If you don't mind, from what I've read from you, you are far too uncritical, unexpecting and undemanding. Quite frankly, I believe you can be tricked into liking anything, as long as it's superficial enough.

You've been here for 1 month, and all you've experienced with me is 1 argument. Don't pretend to know me.

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I don't pretend, the month here was long enough to know how you tick (or not, whatever you prefer).

And I really have no interest in getting to know the full blossoming of your awesome character.

Fatty, I'm not omnipresent or anything, but I get the distinct impression that nobody here cares what you say about anything.

If I'm wrong, somebody please prove it to me.

As for Crimson Tide, I haven't listened to it in a decade or more, but I remember liking it pretty well. 3.5 from me, based on moderately fond memories.

(That's also one of the very few Tony Scott movies I've seen that don't suck so hard that they make me want to give up movies altogether. If you walked up to me right now and told me I had to rewatch Man on Fire, I'd probably choke you a little.)

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I don't like it. It redefined film scoring in some sort of way (it paved the way for other Zimmer and Co's scores of that kind), but it's didn't change it for better, but for worse IMO. While I like some older scores by HZ (like K2 and Backdraft), that one represents what I don't like about his music (I claim that in epic and action music Zimmer fails as a composer; that music generaly serves the purpose, but its quality is mediocre at most). The theme as a melody is good though, very memorable. 2,5 from me.

Chris, who finds Zimmer's restrained drama and comedy scores really good.

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Oh Peter it's amusing.

I'm glad Blumenkohl can find this junk to be an intelligent score, which I find puzzling, but that's his call.

And since I actually had the album, well I still do, it's in a box with all my other CDs I need to get rid of, I really don't think anyone can accuse me of not giving it a fair shake.

And while I'm not going to make it personal against Koray I would say that age does have something to do with it.

After 33 years of listening to film music I would say my tastes have grown and matured to where I know what I enjoy.

When I was 10-18 it was all John Williams, Jerry Goldsmith and anything loud and bombastic. As I grew my tastes changed so while Zimmer may have been appealing to a teenager Mark, to the 40 year old Mark it's a bunch of noises that has no valid musical properties to it.

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(...)

When I was 10-18 it was all John Williams, Jerry Goldsmith and anything loud and bombastic. As I grew my tastes changed so while Zimmer may have been appealing to a teenager Mark, to the 40 year old Mark it's a bunch of noises that has no valid musical properties to it.

Maybe it has something to do with age-related hearing impairment :)

:lol:

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Hmmm, you think you can wait to get rid of The Box until I've had a chance to pick through it next time I'm over? :)

Hey I sent you a PM before we met up in March offering some titles and you never responded back.

Seriously I did. :lol:

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It sounds just like any other Zimmer action score, though it might have sounded original back in the day. The theme is alright.

Didn't this score win a Grammy?

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