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


Ollie

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Batman Returns

The Lost World: Jurassic Park

Star Wars Episode III: Revenge of the Sith

Masters of the Universe

Star Trek II: The Wrath of Khan

 

These are some badass scores, let me tell you.

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Hidden Figures.

 

I'll start by saying that this the best textured score Zimmer has done since Frost/Nixon and the most in tune with the subject matter since Interstellar. Zimmer talked about wanting to avoid preconceived notions like using Phillip Glass to represent math, and I am not sure if he succeeded. But the gospel influence is just invigorating—beautifully integrated female vocals that really gets you into the setting and the mood of the subject and characters. You can sit on a lazy chair and just let your mind drift listening to this score dreaming about stuff. Pharrell’s piano ideas (played by Herbie Hancock) are very easy on the ears, and surprisingly, provided some of the most intellectual moments. There are some cues like “Call Your Wives” and “Ladies March” that are clearly created based on his directions. I am not sure what Wallfisch contributed, but it was reported that they all worked in a room together. 

 

The one downfall to this score is that because most of the cues are so short, a lot of the ideas never really launched out of orbit. Even the best cues like “Katherine” and “Lift Off” and “Hidden Figures” are only around 3 minutes in length. There is a little too much tease, leaving you feel like the music is a bit simplistic. I wish they did a long suite at the end to capture the spirit of the score. 

 

This isn’t mind blowing stuff, but the score is mellow, intellectual, and interesting. That is a long way from Inferno and BvS. 

 

Ratings: ****  

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5 hours ago, Rose Dawson said:

Batman Returns

The Lost World: Jurassic Park

Star Wars Episode III: Revenge of the Sith

Masters of the Universe

Star Trek II: The Wrath of Khan

 

These are some badass scores, let me tell you.

 

I see you're listening to Batman Returns for a change!

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2 hours ago, publicist said:

 

Though by the sound of it i guess it's more a Wallfisch score.

 

Very. There is very little of Zimmer's fingerprints at all in this one actually.

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Star Trek V: The Final Frontier by Jerry Goldsmith: Pretty great.

 

Jupiter Ascending by Michael Giacchino: I zoned out half-way through.

 

The Last Airbender by James Newton Howard: I only wish this had the original choir which would raise the final score by a star.

 

:music:How to Train Your Dragon 2 by John Powell: One of Powell's best. Nice traditional orchestral writing with a modern twist and infectious themes. Simply nearly 70 minutes of fun!

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:music: King Kong by Max Steiner. The whole thing is great but I always thought the moody opening suspenseful cues are the best material from this score.

 

Karol

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Independence Day: Resurgence

I tried to listen to this without holding it up against David Arnold's original score. It was okay. There was a fun action motive. Sure, the score never soars to the heights of the original ID4, but I didn't expect it to. It was trundling along as passable background score that I might grow to like at some point.

And then it just ended.

No sense of a finale or a buildup. Just another cue and then Arnold's end credits, recorded with much less gusto and fun than the original. In the end, this score did nothing but make me want to listen to the original on repeat again.

 

Star Wars

The ultimate digital release or whatever the hell it's called that came out last year.

This is actually quite a nice selection of music from the first film. There's some clunky editing here and there, but this album is a very pleasant listening experience and captures the spirit of the movie perfectly.

 

The Empire Strikes Back

Again, the ultimate something something.

This assembly is a bit more all over the place than Star Wars, but still quite good. You don't get the sense anything important is missing, even though it's fifty (!) minutes shorter than the complete score. Interesting to hear some of the different mixes compared to the RCA release (most notable were Rebels at Bay and The Magic Tree).

 

Next up: the ultimate digital yadayada Return of the Jedi. Looks ludicrously short!

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52 minutes ago, Mr. Breathmask said:

Next up: the ultimate digital yadayada Return of the Jedi. Looks ludicrously short!

 

According to Lucas the reason why its so short is because ROTJ didn't have enough new music to warrant a 2 LP release.

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9 minutes ago, Not Mr. Big said:

MoS:music:

Bm v. Sm :music:

 

Is there a reason you only ever tell us what you're listening to, but never actually saying about about them?

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9 minutes ago, Stefancos said:

What?

 

All the better tracks have inoffensive names like : Yoda's Death, Final Duel, Emperor's Death, Darth Vader's Death, Funeral Pyre for a Jedi.

 

What a happy movie!

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6 minutes ago, Bespin said:

All the better tracks have inoffensive names like : Yoda's Death, Final Duel, Emperor's Death, Darth Vader's Death.

 

What a very happy movie!

 

Sure, because you just can't put different track titles... :sarcasm:

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4 minutes ago, BloodBoal said:

 

Sure, because you just can't put different track titles... :sarcasm:

 

No you can't Blood, ewww.... we "know" these things!

 

2 minutes ago, Disco Stu said:

"Yoda's Destiny", "Emperor's Destiny", "Vader's Destiny"

 

Done and done.

 

Oh wow, they are going to win a cruise?

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4 minutes ago, Disco Stu said:

 

What?  You're being "cuckoo Quebecois" again.

 

Talking about cuckoo, nice avatar.

 

Fixed, thanks to Reverso!

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Flesh + Blood by Basil Poledouris: The 1980's were such great time for this kind of big and bold orchestral film music. The faux-Medieval concoction Poledouris cooks up is rambunctious, energetic and sweeping with several catchy themes in constant interplay and grand setpieces full orchestral thunder and drama that by the composer's own admittance have an almost piratey swash-and-buckling swagger to them due to the fact he saw the main characters in that sort of light.

 

While the most memorable material is the battle music which has a surprisingly adventurous feel there is a lot of subtle often complex thematic interplay going on because of the complicated nature of the story which the composer wanted to illustrate through the use of his numerous character themes. The complete score running a little under 70 minutes is a great listening experience with peaks and valleys and this is definitely among my personal Poledouris favourites.

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6 hours ago, Bespin said:

The loooooooooooooong goodbye.. can you recogzine the theme?

After one listen to that album you can!

 

Cutthroat Island by John Debney

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2 hours ago, Incanus said:

After one listen to that album you can!

 

Cutthroat Island by John Debney

 

I just realized this week, that on the version where's the guy's singing... he makes an error when he sings the last sentence... "a missed hello, turns to be a loooooonnngg..... HELLO".

 

Idiot!

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One of Williams' worst albums.

 


Raiders of the Lost Ark

 

My go-to version of this score is DCC Classics, although I chose the playlist featuring tracks from other sources with inferior sound for an almost-complete score. This is a score that actually had a perfect 42-minute album. However, it's also one of those scores that's great in both OST and complete/chronological presentation. File it with the likes of Jaws, E.T., Star Wars, Superman and The Lost World: Jurassic Park as perfect untouchable Williams.

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Rather brilliant score by an underappreciated Chris Young - at least in this genre he was able to bring out some truly spectacular work that crossed idiomatic boundaries which would have never been possible in the safer big-budget havens: in old Hollywood horror and thriller were playground for experiment for directors and composers, too, a path Young followed with gusto.

 

Also note how the main theme is kind of a supernatural inversion of the 'Schindler's List' theme (see YT video); coincidence as both were released in 1993 (april and december) and couldn't have possibly influenced each other, but the shape of the melody is uncannily similar.

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But he writes also not quite as good stuff in other genres. All the truly great scores by him imho are for horror and thriller scores (not counting drab blockbuster stuff like 'Spiderman III' which everyone raves about but i find eminently forgettable).

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Whatever you might think about stuff like Spider-Man 3, which is often bit incoherent here and there, but still it is more memorable than most stuff like this. Theme-wise, I can remember at least half dozen themes from that. So that's not nothing. And both Monkey King scores are quite good too (I prefer the second one). I sort of wish he would do some more mainstream stuff. But yeah, his horror stuff is great. Big fan of The Fly II.

 

Karol

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