What Is The Last Score You Listened To? (older scores)

[crocodile 8,017]

Rise of the Guardians by Alexandre Desplat

The score has everything going for it - a strong well-developed themes (especially the one turned into a song); clear assured writing; the London Symphony Orchestra giving their best shot. If Desplat proved anything over the years, is that he's not a flavour-of-the-month kind of composer. He's here to stay, judging by his popularity across the wide range of filmmakers. Can do small dramas, comedies, art house films and big action scores as well - and mostly good at every single one of them while still manages to retain a personal voice. Guardians is yet another proof of that. Certainly miles ahead of his Harry Potter double-feature. And yet, with all of that, I keep wondering why I don't love it. What I finally decided on is that the score on album doesn't seem to build towards anything, there's no momentum. Every single cue in itself is great, though. The other thing is that it pays homage to different composers as well, which waters down the impact somewhat. Lastly, it's the animation genre and that doesn't seem to hold that much interest these days - it tends to be a bit too breezy and unfocused for my tastes. I respect it more than I like it.

Overall, I have to say these are good times for fantasy music overall. This score, Shore's The Hobbit, Ottman's Jack The Giant Slayer, Elfman's two latest projects, even Burwell's The Twilight music... While none of them is an absolute masterpieces, t's all (at least) good stuff.

Karol

[Jay 37,368]

Yea, ROTG is good stuff! I feel like it was vastly overlooked for some reason

[Incanus 5,715]

Yea, ROTG is good stuff! I feel like it was vastly overlooked for some reason

Perhaps because of the reasons Karol mentions in that above post. It is still some of his most enthusiastic and colorful writing for a fantasy film. This score clicked a little better with me after I had seen the film. I adore the Sandman theme, which is the melody found in the Renée Fleming song Still Dream. Desplat captured some of the magic of old fantasy scores so full of heart with that theme.

[Quintus 5,399]

Danny Elfman is 60?! Holy shit!

[Incanus 5,715]

Danny Elfman is 60?! Holy shit!

Yeah! He is Williams' junior only by 21 years!

[Quintus 5,399]

That is genuinely crazy.

[Incanus 5,715]

Funny how Thomas Newman and Danny Elfman are often considered the younger composers when both are in their 60s. (Well Newman is 2 years shy but anyway).

[Jay 37,368]

Nah - GIacchino, Lennertz, Tilton, Seiter, and Bacon are the young generation of composers

[Incanus 5,715]

Yes that's now the next generation of "youngsters".

[crocodile 8,017]

Danny Elfman is 60?! Holy shit!

It is quite shocking and that's thanks to the fact Elfman never really acts his age, unlike Williams who was always "old". Or "mature" is a better word, perhaps.

Oz the Great and Powerful (say what you want, I love it)

http://www.youtube.com/watch?v=4JdPcxxlHys

Karol

[publicist 4,643]

AFTER EARTH - James Newton Howard

An overprized gift from Padre Smith to his son, this terribly-reviewed summer blockbuster may be the most in-name-only directorial gig of M. Night Shymalayan yet. The constraints of the noisy summer blockbuster^® are clearly casting a heavy spell over JNH's score - usually the highpoint of Shymalayans films and a reason to be thankful for the sake of effective filmmusic. Here, Howard has to supply heavy doses of atmospheric sound design to depict Smith jr. in his task of running through a hostile environment populated by dangerous animals.

There are several noteworthy thematic ideas and they are spread over six or seven cues that really register, unfortunately without any glue tho bind them together. If you take away the nondescript meandering and too-functional stuff in the long middle section you are left with a bunch of cues that are slick and elegant in the customary JNH way, without ever approaching the introspective heights of THE VILLAGE or the powerful grip of SIGNS. There are signs of the tribal-drum heavy RCP style but it is actually done with care and instrumental detail.

All in all, it's still a disappointment - especially that it fails to musically tell a story, one of the big strengths of older Shymalayan scores, but there are diverting bits in it and it invited me to dig a bit deeper into it, so it's certainly no waste. It leaves one sad not that JNH has not delivered a perfect score but that Shymalayan does not make music-friendly movie anymore.

[Matt C 454]

The Da Vinci Code

This is Zimmer's magnum opus... "Chevaliers de Sangreal" alone cements it as Zimmer's finest. Everything about this score clicks. I'd wish he do more of this rather the stuff he's been churning out for Christopher Nolan's films.

[Koray Savas 2,251]

AFTER EARTH - James Newton Howard

An overprized gift from Padre Smith to his son, this terribly-reviewed summer blockbuster may be the most in-name-only directorial gig of M. Night Shymalayan yet. The constraints of the noisy summer blockbuster^® are clearly casting a heavy spell over JNH's score - usually the highpoint of Shymalayans films and a reason to be thankful for the sake of effective filmmusic. Here, Howard has to supply heavy doses of atmospheric sound design to depict Smith jr. in his task of running through a hostile environment populated by dangerous animals.

There are several noteworthy thematic ideas and they are spread over six or seven cues that really register, unfortunately without any glue tho bind them together. If you take away the nondescript meandering and too-functional stuff in the long middle section you are left with a bunch of cues that are slick and elegant in the customary JNH way, without ever approaching the introspective heights of THE VILLAGE or the powerful grip of SIGNS. There are signs of the tribal-drum heavy RCP style but it is actually done with care and instrumental detail.

All in all, it's still a disappointment - especially that it fails to musically tell a story, one of the big strengths of older Shymalayan scores, but there are diverting bits in it and it invited me to dig a bit deeper into it, so it's certainly no waste. It leaves one sad not that JNH has not delivered a perfect score but that Shymalayan does not make music-friendly movie anymore.

I more or less agree. It has its highlights for sure, with some echoes of the ol' JNH but it ultimately fails to really engage. I love "The Tail" and "Ghosting" though. Howard has a really unique way of using synths.

[crocodile 8,017]

The Mask of Zorro by James Horner - Plaza of Execution is for me one of the best Horner tracks ever

Revolution by John Corigliano - gotta love War Lament

The Hole by Javier Navarrete - among the best albums released this year so far

Die Hard With A Vengeance by Michael Kamen - Ode to Joy in this score always crack me up

Karol

[alicebrallice 134]

NP:

[Incanus 5,715]

A rather lovely small scale work by Kantelinen. I should listen to his stuff more. Sadly he doesn't often have chance to writer bigger bolder works as Finnish films don't usually allow such scale.

[Brónach 1,302]

I'm listening to that one now.

[A24 4,338]

Revolution: John Corigliano. I hated the film when I saw the film in the '80s. The score isn't all that bad though. Very unWilliams is a time when everything was Williams.

Alex

[alicebrallice 134]

A rather lovely small scale work by Kantelinen. I should listen to his stuff more. Sadly he doesn't often have chance to writer bigger bolder works as Finnish films don't usually allow such scale.

what is your favorite score of his?

I'm listening to that one now.

do you like it?

NP:

[Brónach 1,302]

I'm listening to that one now.

do you like it?

I listened to one track which I thought was gorgeous.

Then my Spotify timer went up Fortunately, I just realized it's in Grooveshark.

[Matt C 454]

Batman: The Animated Series: Volume 1 - Walker, McCuistion, Ritmanis

The score are rather bitty, being they accompany half-hour animation, but nice loyalty to new themes (as well as fleeting tributes to Elfman's 1989 theme) and overall quality of the writing is impressive. The scores sound large and robust for 20-40 players, very nice work on part of the orchestrators and score mixer.

[Jay 37,368]

Very nicely said.

[Unlucky Bastard 7,782]

Star Trek V: The Final Frontier.

I think this one tends to fall through the cracks whenever I go through a Trek binge like I've been doing lately, but after watching the film and spending most of last year indulging on the LLL release of STTMP, I wanted to give TFF another spin.

The score is appropriately restrained during the talkie moments and the action flourishes in the first half. Jerry also uses his "chords of wonder" to great effect for the "sha-ka-ree" theme of the film, which expresses the right balance of marvel and menace in Sybok's quest and the build-up to the revelation of "God" and his true colours. There's a particular moment in the expanded version that I love where Kirk says that he misses his old chair - Jerry scores this scene acknowledging its comedy and lighthearted tone without having to accentuate it, he just knows it's three oldies having a laugh at themselves. Critics usually slam the film for supposed "poor" attempts at humour, but I always found it a very funny film for all the right reasons and Jerry's music plays a role in creating a pleasant experience.

[Marian Schedenig 8,198]

Critics usually slam the film for supposed "poor" attempts at humour, but I always found it a very funny film for all the right reasons

There are many things that are wrong with the film, but the humour is spot on. In that regards, it's still one of my favourites in the series.

I also used to like but underestimate the score, until the LLL release came out. There's a wealth of fantastic material in the expanded version, plus the sound is incredible.

[Faleel 5,350]

Batman Forever - Elliot Goldenthal

Best. Batman. Score. Ever.

(Hear that? its the sound of Danny Elfman crying in the corner)

[Romão 2,274]

Couldn't agree more

[crocodile 8,017]

Not sure if the best, but certainly an excellent and entertaining work.

King Kong by John Barry (love all this jungle percussion tracks on the new release)

Capricorn One by Jerry Goldsmith

Avatar by James Horner

Die Hard 2: Die Harder by Michael Kamen

Karol - who just got a note his Blue Box is waiting for him at the post office

[Incanus 5,715]

Karol - who just got a note his Blue Box is waiting for him at the post office

So you have a Super(man) weekend ahead?

[crocodile 8,017]

Indeed. It has already began. I'll make some comments on it as I go. With The Twilight Zone: The Movie, that I also bought, it's 11 hours of music I need to get through!

Superman: The Movie does sound considerably better than the Rhino album. It needs no introduction, obviously, so I won't be commenting on it much.You know how it goes... one of his very best works... fabulous presentation etc. What really convinced me to buy this (apart from low quantity alert, that is) is the other music present on the set and that's something I'm curious to familiarize myself with.

I have to say I'm really enjoying Superman II. Never gave it much credit, to be honest. Which is a shame, because it sounds much better than I remember from the film. Also, the fact it is pretty much all based on Williams' material lessens its appeal somewhat. It's probably unfair - that was the assignment, wasn't it? And, in all honesty, Ken Thorne did a brilliant job on adaptation. Almost as if it was a second part of the score Williams never wrote (strange thing to say, because that was exactly the intention). It's cool how the composer takes some really minor elements from Superman: The Movie and expands upon them, especially the Krypton bits. I love when he re-uses the material from Jor-El speech (just before he sends his son away) for Mother's Advice but adds even more profound sense to with by introducing a chorus. Same goes for the Zod material, which is almost an evil take on Krypton theme. That is a good example on how the composer managed not to ape Williams, but also give a new spin to things. Change the context of the theme here, arrange things differently there - stuff like that. In other words - it's not as artistically pointless as I thought. The performance is not as stunning (obviously), but the FSM presentation makes it shine.

Now onto Superman III, which I'm really really curious about.

Karol

[A24 4,338]

Thanks to spotify, it was the first time that I listened to this very pleasant soundtrack outside the film.

Alex

[Jay 37,368]

David Arnold and Mike Price - Sherlock (BBC Series 1)

You know, I had formerly praised this score, but listening again it's really just the strength of the two themes (at least the only two I noticed - the one used for the opening/end credits, and the one that's like Zimmer's movie score) that is so great. The opening few tracks that use these are lot are great, and then the album really drags for a while.

[Brónach 1,302]

The themes through the scores are cool but that's it.

I wonder what Murray Gold would have come up with.

[filmmusic 1,829]

NP:

The best "non-Elfman-sound" Elfman score!

[crocodile 8,017]

Ken Thorne's Superman III is a drastically different experience from the previous two scores. Still reliant on Williams' material from time to time, but more based on Ken Thorne's own voice. It's not a bad score, but suffers from a considerable identity crisis - some of the writing is quite dark (the cool variations on the Kryptonite, for example), some of it really silly. One top of that, some wacky Goldsmith-like synths were also thrown into the mix. It gets better towards the end where a slightly weightier material takes over. Overall, a mixed bag and the best thing about it is still the opening track.

Karol

[Jay 37,368]

Yup. The opening track is awesome!

[Brónach 1,302]

http://www.youtube.com/watch?v=z_NLJ7vk_kM

You know, I like Vertigo like anyone else, but it was stuff like Journey to the Center of the Earth or this that actually made me go "whoah" and I associate with Bernard the most.

[crocodile 8,017]

Twilight Zone - The Movie by Jerry Goldsmith

I was refusing to buy FSM album for some time, because the original album is very dear to my heart (and also there were other things out there to buy). Couldn't imagine how this expansion could improve thing any - it was a perfect album. And while it is not revolutionary, the 53-minute full score works very well. Doesn't differ from the original album edit as much as I thought. Some nice little previously unreleased cues can be found here and there. One of Jerry Goldsmith very best works in my opinion. The FSM disc is very well produced as well. The original album still serves the score just fine.

Superman IV: The Quest For Peace by Alexander Courage

Whoa, the quality of this music is a big surprise. I wouldn't call Williams' new themes particularly outstanding, but Courage's treatment of those is really good. Lacy's theme might feel a bit dated by now, but it's a nice tune anyway. I also love what the composer does with the original love theme (in the Fresh Air track), Superman's own theme in the United Nations cue. or how he merges March of the Villains with Nuclear Man's theme. Not to mention the fantastic interplay between the two rivaling love themes in Lacy's Place. Some terrific action music can be found here as well. Not to take away anything from Ken Thorne and his respectable adaptations, but this one feels like a really fresh take on the material - he doesn't just ape it verbatim like it usually happens. It's a very worthy score and a fantastic listen. Ignore the abysmal film, the music feels nothing like that piece of garbage and it alone makes the Blue Box worth its price. Sounds better than expected as well.

Karol - who also read the entire book and has got only two discs to go

[KK 3,307]

Game of Thrones: Season 3 (Ramin Djawadi)

Not nearly as bad as I thought it was. Not great, but there is definitely decent material here and at times surprisingly impressive music.

[BloodBoal 7,538]

[Incanus 5,715]

One of the few problems I have with these episode scores is the bland monochromatic orchestrations of strings and percussion. It really gets dull beyond description after the first season and despite some accomplished tracks the 3rd season score is pretty much more of the same.

P.S. The Bear and the Maiden Fair is just out of place, in the end credits of the episode it was used in and on the album. Simply strange choice. But I am sure the producers and the composer thought it coolest thing ever.

[KK 3,307]

Yes, both of you are right. But compared to the sludge in the first season, I find a cue like "Mhysa" rather refreshing.

[Ollie 1,059]

Indeed. It has already began. I'll make some comments on it as I go. With The Twilight Zone: The Movie, that I also bought, it's 11 hours of music I need to get through!

Superman: The Movie does sound considerably better than the Rhino album. It needs no introduction, obviously, so I won't be commenting on it much.You know how it goes... one of his very best works... fabulous presentation etc. What really convinced me to buy this (apart from low quantity alert, that is) is the other music present on the set and that's something I'm curious to familiarize myself with.

I have to say I'm really enjoying Superman II. Never gave it much credit, to be honest. Which is a shame, because it sounds much better than I remember from the film. Also, the fact it is pretty much all based on Williams' material lessens its appeal somewhat. It's probably unfair - that was the assignment, wasn't it? And, in all honesty, Ken Thorne did a brilliant job on adaptation. Almost as if it was a second part of the score Williams never wrote (strange thing to say, because that was exactly the intention). It's cool how the composer takes some really minor elements from Superman: The Movie and expands upon them, especially the Krypton bits. I love when he re-uses the material from Jor-El speech (just before he sends his son away) for Mother's Advice but adds even more profound sense to with by introducing a chorus. Same goes for the Zod material, which is almost an evil take on Krypton theme. That is a good example on how the composer managed not to ape Williams, but also give a new spin to things. Change the context of the theme here, arrange things differently there - stuff like that. In other words - it's not as artistically pointless as I thought. The performance is not as stunning (obviously), but the FSM presentation makes it shine.

Now onto Superman III, which I'm really really curious about.

Karol

That's one of the things I've tried to point out to those who thumb their noses at Thorne's effort. It's very well done.

[Quintus 5,399]

Heard a cue from Alice in Wonderland on the radio. Refreshingly, sounded like an on top form Elfman in full on gothic whimsical mode of old, a really good choral piece which I'd honestly call vintage Elfman.

Is the whole score quality?

[KK 3,307]

I know Karol would I disagree, but I'd say it is. You can hear inspiration from many different parts of his career, but its packaged into an incredibly satisfying whole.

Although the best part of the score is the killer main titles cue, the rest of the score still offers great action and intimate material to enjoy. Again, Karol would disagree, but I think it's one his strongest scores in recent years.

Give it a chance

[Quintus 5,399]

Good'o, I'll trial it. Cheers.

[crocodile 8,017]

(Insert random Alice In Wonderland comment by Karol)

Superman - Animated Series (Ron Jones) and Superman IV.

Karol

[Koray Savas 2,251]

(Insert random Alice In Wonderland reply by Koray)

[Quintus 5,399]

Insert random rectal probe

[Ollie 1,059]

Anyhoo, after wearing out Into Darkness, I decided to actually buy another 2013 summer score.

Iron Man 3

[Faleel 5,350]

Batman Begins recording sessions - hans zimmer and james newton howard

yuck.