The Illustrious Jerry 3,356 Posted December 23, 2018 Share Posted December 23, 2018 The Post by John Williams From Russia With Love by John Barry Bridge of Spies by Thomas Newman The Adventures of Tintin by John Williams Will 1 Link to comment Share on other sites More sharing options...
crocodile 8,000 Posted December 23, 2018 Share Posted December 23, 2018 1 hour ago, Marian Schedenig said: Should have added Nightmare at 20,000 Feet for the plane ride. Haha. I did actually listen to Shirley Walker's Turbulence on the plane and a bit of Die Hard 2 as well. That is clearly asking for trouble. 😂 Karol Link to comment Share on other sites More sharing options...
Obi 404 Posted December 23, 2018 Share Posted December 23, 2018 The Monster Squad - Bruce Broughton The Predator - Henry Jackman Star Wars - The Force Awakens - John Williams The Illustrious Jerry 1 Link to comment Share on other sites More sharing options...
Wojo 2,453 Posted December 23, 2018 Share Posted December 23, 2018 On 11/5/2018 at 4:04 PM, John said: Star Wars, by John Williams This score doesn't have an ounce of fat on it. Near perfect in every way. Did they track in any of Jabba's music for his cameo in Docking Bay 94 for the 1997 Special Edition movie? I know it wasn't on the album. That'd be your only fat... Link to comment Share on other sites More sharing options...
publicist 4,643 Posted December 23, 2018 Share Posted December 23, 2018 HARRY POTTER AND THE SORCERER’S STONE (Philosopher's, from here on) At 2.5 hours, it's less a soundtrack release than a toolbox for Potter (or Williams) fans to build their own entry into the wizardring world of Harry Potter. And probably better off that way, as the film soundtrack tends to highlight the weaknesses of director Chris Columbus' club-footed ersatz-Spielberg style (a staple of the 'Home Alone' movies). In Columbus's hands, the whole idea of a muggle and a wizard world goes right out of the window: everything is overdone in a plush, overdecorated Dickensian storybook style and the comic buffonery of the early scenes doesn't feel much different from a visit to a troll bank or the eccentric wizard school personal. And it's especially in that crucial first quarter where Williams is the final nail in the movie's coffin, with an endless supply of bumbling menace and whimsical, prancing celeste/woodwind runs right out of his old Nutcracker playbook leavened with the macabre shadings of the omnipresent main theme (drawn from Hook and Home Alone, but based on classical repertoire, like Saint-Saens' Danse Macabre or Mussorgsky's Night on Bald Mountain). After that heavy bit of telegraphing and editorializing - with Columbus's camera lovingly holding every shot 5 seconds longer than it needs to be - the score picks up when we finally arriving at Hogwarts. Here the music thankfully gets more varied, and betrays a harmonically more adventurous drive more in line with the maestro's later works. Among the many gifts that the soundtrack album only fleetingly granted us are a floating women's chorus (i. e. in Introduction To Quidditch), the cute school song, more of the spooky/ghostly christmas and library music, the murky, dissonant Dark Forest/Chess Game material and the sinister Stone motif, probably the biggest imprint for the movie series next to the main theme (it's the one motif next to the theme flexible enough that it could have worked for Voldemort's threat right to the end). The movie aside - and the score's familiarity - one thing that needs to be acknowledged is the splendor of it all: even more than in Williams' more celebrated earlier works, the first Potter is an exercise in the fine art of orchestration. It's as if Williams pulled out all stops here and did his best Prokoviev/Tchaikovski/Britten etc. impression (it's much less childish than, say, Hook). In that sense, Potter I is a real textbook example of this style, done in a more sophisticated way than the 70's/80's (it's a far cry from the rough and tumble Star Wars). So given its origin it must be said that as orchestral work it's remarkable, as music for film less so. In that context, it's remarkable how much discipline Cuaron demands - and gets - from the composer only 3 years after. No rousing finishs and orchestral showpieces for their own sake, no bloated overscoring - ironically making for a work that's harder to digest but imho richer as a listening experience. Still, HPPS still rates a pretty high 4/5 in my book. It's virtues are too many to concentrate on the flaws. Brundlefly 1 Link to comment Share on other sites More sharing options...
crocodile 8,000 Posted December 23, 2018 Share Posted December 23, 2018 Yeah that's true the film is really overscored in the first act with Hedwig's thene a constant presence. And yes, it does take off once they reach Hogwarts. Overall this score still flows the best out of the three even if it might not be my favourite musically. Azkaban is the exact opposite. Speaking of Hedwig's theme I always preferred the teaser trailer version. That abandoned middle section is the best bit. Shame they don't perform that as a concert suite. Karol Link to comment Share on other sites More sharing options...
publicist 4,643 Posted December 23, 2018 Share Posted December 23, 2018 The first and second really are one big work for me, cutting out the repeated bits in COS. crocodile 1 Link to comment Share on other sites More sharing options...
crocodile 8,000 Posted December 23, 2018 Share Posted December 23, 2018 Creed and Creed II by Ludwig Goransson. Now this is how you do sequels/reboots to popular series. It's a nice extension of what Bill Conti did in old films but updated for modern audiences. It's not quite unlike John Powell's Solo. Pay homage but don't copy. The two scores are largely built on the phenomenal main theme that consists of no fewer than threr sections. It's one of the best new themes penned for any film this decade and Goransson demonstrates as well how malleable his material can be. The first score is very much a slow build towards grandiose statements of the final act. The theme in its fullest form is full of adrenaline-pumping energy and testosterone. It's written for someone who tries to prove something. That is why when you first listen to the second album you might think it's the weaker listen. But the story arc in that story is bit different and so Goransson adapts it to a more introspective and lonely fashion. It also regains some of its glory in the final act...but this time the denouement is calmer and, again, introspective. Creed is a wiser and more character mature now. It's excellently executed musical arc. The subsequent listens reveal a lot of the detail. Another attraction of the second score is also Drago's theme. Grandiose Russian melodies are a bit of a cliché in film scoring but it fits this particular context quite well and actually gives those characters a bit of heart. I love how those two big themes clash in the final cues. Bill Conti material is used quite sparingly but that underscores Rocky's more personal battkes quite well. It's used in the faded and nostalgic way and works brilliantly. With these two scores, Goransson proves that you don't have to choose between the good old days of long lined melody and the propulsive ostinato-driven adrenaline of modern blockbusters. The scores merge the cliche of the type of music you'd hear in boxing match TV promos with the good old fashioned emotions. On top if that, the use of songs is quite interesting as well as they are not separate entities and coexist quite seamlessly with the score and are its integral part. This is such an intelligent way of doing that. So yeah, the first one was a highlight of 2015 and the secomd one does the same for this year's lineup. It's clever and well thought-out. It's rare to hear a score that actually develops its material. Count me in for the third one! Karol Nick Parker 1 Link to comment Share on other sites More sharing options...
Popular Post crocodile 8,000 Posted December 24, 2018 Popular Post Share Posted December 24, 2018 The Nativity Story by Mychael Danna A Christmas Carol by Alan Silvestri Home Alone by John Williams Scrooged by Danny Elfman Plus Boston Pops' Joy to the World, bits from Ben-Hur and the Nexus choral material from Star Trek: Generations. I completely forgot that I bought Elfman earlier this year and never actually listened to it! I remember very clearly my Christmas Even in 2010. It was my very first Christmas on my own abroad. I had a terrible day (retail!) and no time to do any shopping. It was a miserable day. But once I got from work that evening in a particularly miserable mood I've found a parcel from La-La Land laying on my door mat. I thought it was one of those lost in the mail as it took ages to arrive. It was the first expansion of Home Alone. It couldn't have arrived at the more perfect time. And it really helped me through the night. It was a most appropriate CD for that occasion as well. Merry Christmas to each and every single one of you, JWFans! Karol Naïve Old Fart, JWMike and SteveMc 3 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,055 Posted December 24, 2018 Share Posted December 24, 2018 I never actually listen to Elfman either. Link to comment Share on other sites More sharing options...
Popular Post publicist 4,643 Posted December 25, 2018 Popular Post Share Posted December 25, 2018 HARRY POTTER AND THE CHAMBER OF SECRETS Not much to add here. It's a seamless continuation of the first score, only that it we thankfully go in medias res early. The bloated operetta tone makes way for chilling, elegant darkness - a most welcome change. The movie is as cloyingly done as the first one - the director, Chris Columbus, never saw a mugshot he didn't like - but thanks to Rowlings piling up the bodies and premonitions, all the big sets and effects have to serve a paranoid green-tinted narrative with child and adult actors looking horrified a lot of the time. Foppish Kenneth Branagh, sadly wasted in the later part of the movie, is the first one of many memorable eccentric teachers coming into the school over the years, and his bumbling tune is one of Williams' most uninspired creations - all the other new themes are simply a delight: it's really as if they put Williams in a time capsule back to the late 80's. Effortlessly written and not overstaying their welcome (an increasing danger with over-elaborate pieces like 'Harry's Wondrous World'), they are maybe the score's most pleasant surprises. It's hard to rate, really, as the compromise of having William Ross shoehorning cut-and-paste jobs of the first score even into crucial scenes robs you of the pleasure having new (and old) themes properly developed - to anyone's surprise, the result wasn't really satisfactory, leading to further confusion when Williams re-wrote parts of these parts, leading to a schizophrenic narrative where the chamber of secrets, the movie's centerpiece, is half represented by a new theme Williams wrote while the other half is filled up with the first movie's philosopher's stone sinister motif. Sadly the whole setup of the horrifying finale in the chamber is a big disappointment, musically, leaving you with only another chaotic action piece next to 8 minutes of tracking (where the appearance of Fawkes The Phoenix practically forces Williams to insert majestic passages of his lilting theme amongst all the clutter). As dreaded Lord Voldemort plays an important part, it is a waste of having especially these parts tracked. All in all it's a good effort, with several action and mood scenes filling enough time to keep you entertained, and it's a first rate job of ensemble playing, recording and mixing. The new LLL release is a hard slog to get through: out with the scissors and editing software. A good selection of 70-80 minutes is to be rescued from it. Chen G., Brónach and Brundlefly 3 Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted December 25, 2018 Share Posted December 25, 2018 Thanks for the warming, Pub. I'll pass on this. Link to comment Share on other sites More sharing options...
crocodile 8,000 Posted December 25, 2018 Share Posted December 25, 2018 3 hours ago, Stefancos said: Thanks for the warming, Pub. I'll pass on this. Not a fan of 1 and 3? Karol Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted December 25, 2018 Share Posted December 25, 2018 I love 1 and 3. But not 2. Chen G. 1 Link to comment Share on other sites More sharing options...
crocodile 8,000 Posted December 25, 2018 Share Posted December 25, 2018 2 is nice musuc all around and new stuff is genuinely solid. But it's a bit underwhelming as a complete score. Doesn't feel like it's going anywhere dramatically. Karol Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted December 25, 2018 Share Posted December 25, 2018 Ive always thought it was a bit of a travesty. Even moreso than AOTC with all the tracked music. 2002 was a less than stellar Williams year. Link to comment Share on other sites More sharing options...
Popular Post publicist 4,643 Posted December 25, 2018 Popular Post Share Posted December 25, 2018 With the two Spielberg's at least being very good pictures. crocodile, SteveMc and Chen G. 3 Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted December 25, 2018 Share Posted December 25, 2018 True. Link to comment Share on other sites More sharing options...
crocodile 8,000 Posted December 25, 2018 Share Posted December 25, 2018 That's true, both Spelberg films from 2002 are really underappreciated. They're not terrific, and each has its own set of problems, but very enjoyable. I'd go even as far and as they're his best 21st century works. Karol Link to comment Share on other sites More sharing options...
Popular Post publicist 4,643 Posted December 25, 2018 Popular Post Share Posted December 25, 2018 Finishing duties with HARRY POTTER AND THE PRISONER OF AZKABAN A recent visit to the Royal Albert Hall for (my first) live movie/concert performance misled me regarding the score's true worth: its precise, often deliberately toned-down approach was dwarfed by the movie's elaborate sound effects - the whole idea seems more of an expensive marketing stunt anyway. LLL's recent expansion now makes you appreciate not only the fresh start the series got with its third installment, but also the considerable effort it must have taken Williams to abandon the well-trodden road he took for the leaden, show-value oriented first two Potters. Gone is the relentless operetta overscoring, substituted now by a gnarly, mischievous, often dissonant thriller approach still playful enough to conjure the wizarding world of Harry Potter, but doing so in a more idiosyncratic way (even the newfound minimalisms of 'A. I.' make a cameo). Director Alfonso Cuarón's musical aesthetics certainly are a far cry from the leisure old-school style of Chris Columbus, and he thankfully bonded enough with the composer to convince him to largely abandon the wealth of material he created for this series, as a result unleashing one of the high points of fantasy scoring of the 2000's. Given the quintessential englishness of this series, it's a bit surprising that it took three movies to reflect the islands musical heritage: an inconsistency even Williams might have noticed, as he not only employs medieval melodies here, but also quite a band of mediaval (folk and court) instruments playing them. The mix is delightful and with all the wacky additions (atonal bebop in 'The Knight Bus' or the shawm fanfare for Sir Cardogan) play well against the omnipresent mischievous motto theme of the movie, 'Something Wicked this Way comes', and the sinister music for the elaborate conspiracies involving metamorphosing rats, deadly dementors and time travels. The old album, well-intentioned as it may have been, was quite a disservice for the varied tapestries Williams creates here: due to less dense scoring, there are a lot of short cues in addition to some fanciful alternates that would have required a much more deft hand combining those into a good representation - the second half of the movie, where important story points coalesce is woefully underrepresented on the old release. The true worth of Williams' contributions can only be valued now, with the long Time Past modeled on the beat of a ticking clock sequence intact, or the textural interesting strings flirrings of The Three Broomsticks, or the modernist/aleatoric cues for the more frightening moments reminiscent of CEOTK (the choral alternates are a beaut) - or even the short Britten-esque carol A Winter's Spell. But even in short cues like 'The Executioner' you feel a playfulness that the album would feel less without it. If there's one thing this release is proof of is that Williams post-80's career could have used a few more Cuarons (at least we had Stone, Annaud, John Singleton and Barry Levinson) in lieu of George Lucas, Chris Columbus or Indy IV-Spielberg. Holko, Will, Brundlefly and 2 others 5 Link to comment Share on other sites More sharing options...
Zanobard 71 Posted December 25, 2018 Share Posted December 25, 2018 The Polar Express by Alan Silvestri He really went all out with this one - such a beautiful score. Fingers crossed for an expanded release one day. The Illustrious Jerry and Will 2 Link to comment Share on other sites More sharing options...
Popular Post Nick Parker 3,040 Posted December 25, 2018 Popular Post Share Posted December 25, 2018 2 hours ago, Stefancos said: 2002 was a less than stellar Williams year. It was a great year for him! Minority Report, Catch Me If You Can, Attack of the Clones...even if you're not a fan of any one of those, it's hard to deny that they feature some top writing from him, with at least a few musical setpieces that sing to even the most jaded listeners. Will, D_nev and SteveMc 3 Link to comment Share on other sites More sharing options...
SteveMc 2,674 Posted December 25, 2018 Share Posted December 25, 2018 Yes! Link to comment Share on other sites More sharing options...
Kasey Kockroach 2,344 Posted December 25, 2018 Share Posted December 25, 2018 Miracle on 34th Street by Bruce Broughton Gremlins by Jerry Goldsmith Nightmare Before Christmas by Danny Elfman Muppet Christmas Carol by Paul Williams and Miles Goodman Krampus by Douglas Pipes Link to comment Share on other sites More sharing options...
Popular Post artguy360 1,843 Posted December 26, 2018 Popular Post Share Posted December 26, 2018 I'm currently re-listening to the complete Lord of the Rings: Return of the King complete release, and it is striking me once again how masterful Shore's work was on this film trilogy. Each score has a sense of flow that I have rarely heard in other film scores, where everything feels bound by a kind of musical logic and every note is worth listening to. How Shore managed to write such versatile and compelling themes, drench each score in the history of Middle Earth including its languages, write underscore that flows seamlessly, AND add depth and complexity to the musical language of each sequel score is beyond me. One of the finest achievements in all of film music history. SteveMc, Holko, Zanobard and 1 other 4 Link to comment Share on other sites More sharing options...
Zanobard 71 Posted December 27, 2018 Share Posted December 27, 2018 Transformers: The Movie by Vince DiCola Discovered this very 80s gem today. A fantastic synth score. Link to comment Share on other sites More sharing options...
Brundlefly 2,385 Posted December 27, 2018 Share Posted December 27, 2018 On 12/25/2018 at 2:38 PM, crocodile said: 2 is nice musuc all around and new stuff is genuinely solid. But it's a bit underwhelming as a complete score. Doesn't feel like it's going anywhere dramatically. On 12/25/2018 at 3:08 PM, publicist said: With the two Spielberg's at least being very good pictures. Yes! Link to comment Share on other sites More sharing options...
Hurwitz Fan 30 Posted December 27, 2018 Share Posted December 27, 2018 ... Zanobard 1 Link to comment Share on other sites More sharing options...
Kasey Kockroach 2,344 Posted December 27, 2018 Share Posted December 27, 2018 Another composer that accomplishes the bare minimum and gets awards and tons of dream jobs for it. Link to comment Share on other sites More sharing options...
John 2,032 Posted December 27, 2018 Share Posted December 27, 2018 NO Not Mr. Big 1 Link to comment Share on other sites More sharing options...
Bespin 8,480 Posted December 27, 2018 Share Posted December 27, 2018 Today I listened to Schindler's list new set. Wonderfull. SteveMc 1 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted December 29, 2018 Share Posted December 29, 2018 Why 'modern-classical' composer Thomas Adés was chosen for 'Colette', a 2018 biopic based upon the life of the French novelist Colette (improbable Keira Knightley) becomes not entirely clear. His contribution consists of mainly short miniatures, light chamber-sized music recalling the late Georges Delerue, with waltzes and danses of the period (Debussy, Saint-Saens, Satie) to add authentic flavour. Adés own contributions are in the same vein (though he adds the requisite string section) and occasionally rather effective, but the brevity doesn't help (most cues clock in about or even under a minute). It's far from a disgrace and the orchestration reveals a skillful hand - but probably will not change this year's Best-of lists now it has been released. SteveMc 1 Link to comment Share on other sites More sharing options...
The Illustrious Jerry 3,356 Posted December 29, 2018 Share Posted December 29, 2018 Pirates of the Caribbean: Dead Men Tell No Tales by Geoff Zanelli On second listen, this score makes adequate and quite appropriate use of preexisting themes, as well as meshing in a new main one for this film in particular, which I feel lines up pretty well with the overall Pirates musical signature. Should a sixth film emerge it may very well be worth it just to see, possibly, Zanelli have another go, or perhaps a reprise from one of the numerous composers involved in this series. The pinnacle of this OST is My Name is Barbossa, which is a beautiful culmination of the One Last Day theme for Will and Elizabeth. VICE by Nicholas Brittel This is such a damn catchy score. It's at times really groovy with big band brass and retro style percussion, and also very symphonic with it's main theme and various string serenades. Last year at FYC season I really enjoyed listening to Darkest Hour, this year VICE takes the prize. It's a super fun listen and a very musically diverse album. Jaws (Decca Records) by John Williams I am aware at the interesting assembly of this album, but Jaws remains one of Williams greatest and most memorable works. Great themes and the strongest musical resonance of a score in a film I think for many people worldwide. Instantly recognizable music. Link to comment Share on other sites More sharing options...
Bespin 8,480 Posted December 29, 2018 Share Posted December 29, 2018 😍😍 Link to comment Share on other sites More sharing options...
D_nev 89 Posted December 29, 2018 Share Posted December 29, 2018 I just received the new Harry Portter set the other day so I’ve been listening to those scores off and on. Someday soon I will sit down and listen to them all in their glory! I’m very happy to see that the new set includes the children’s suite, I’m a huge fan of Williams’s chamber works. I can’t get enough of the wonderful counterpoint and his rich harmonies in the Quidditch piece! Also, I’ve been really into Hook lately. The arrival of tink track (specifically in the extended release edition) always manages to bring a beaming smile to my face! Will and Bespin 2 Link to comment Share on other sites More sharing options...
Bespin 8,480 Posted December 29, 2018 Share Posted December 29, 2018 Nice 4th post. D_nev 1 Link to comment Share on other sites More sharing options...
D_nev 89 Posted December 29, 2018 Share Posted December 29, 2018 4 minutes ago, Bespin said: Nice 4th post. Thanks pal! Link to comment Share on other sites More sharing options...
Bespin 8,480 Posted December 29, 2018 Share Posted December 29, 2018 Just now, D_nev said: Thanks pal! That's my pleasure! Visit my website now: http://www.goplanete.com/johnwilliams/music/disco/albums.htm. 😁 The Illustrious Jerry and Will 2 Link to comment Share on other sites More sharing options...
D_nev 89 Posted December 29, 2018 Share Posted December 29, 2018 4 minutes ago, Bespin said: That's my pleasure! Visit my website now: http://www.goplanete.com/johnwilliams/music/disco/albums.htm. 😁 Very nice! The John Williams at 80 article was a great read! It’s motivating to see someone of his age still so dedicated to the creation of beautiful art and truly meaningful music! On 12/27/2018 at 6:13 PM, Bespin said: Today I listened to Schindler's list new set. Wonderfull. I was thinking about purchasing this set. How is it? Bespin 1 Link to comment Share on other sites More sharing options...
Kasey Kockroach 2,344 Posted December 29, 2018 Share Posted December 29, 2018 How to Train Your Dragon by John Powie How to Train Your Dragon 2 by John Powza How to Train Your Dragon: The Hidden World one-minute sample by John Pow-Wow I'm mildly excited for next year is all. Will 1 Link to comment Share on other sites More sharing options...
Bespin 8,480 Posted December 29, 2018 Share Posted December 29, 2018 53 minutes ago, D_nev said: I was thinking about purchasing this set. How is it? Schindler's List 25th Anniversary set? Essential. Just "Schindler's Workforce (film version)" worth the price. Link to comment Share on other sites More sharing options...
D_nev 89 Posted December 29, 2018 Share Posted December 29, 2018 6 minutes ago, Bespin said: Schindler's List 25th Anniversary set? Essential. Just "Schindler's Workforce (film version)" worth the price. Excellent! I will definitely purchase the set now! I bought the 20th anniversary edition of Saving Private Ryan a couple of months ago, and it’s the same way. The film version of “The Last Battle” is well worth the purchase alone! Thanks a lot! Bespin 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,055 Posted December 29, 2018 Share Posted December 29, 2018 1 hour ago, Bespin said: That's my pleasure! Visit my website now: http://www.goplanete.com/johnwilliams/music/disco/albums.htm. 😁 It's a trap! Link to comment Share on other sites More sharing options...
Bespin 8,480 Posted December 29, 2018 Share Posted December 29, 2018 Jurassic Shark and Naïve Old Fart 2 Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted December 30, 2018 Share Posted December 30, 2018 Rambo III The best of the trilogy. Link to comment Share on other sites More sharing options...
Kasey Kockroach 2,344 Posted December 30, 2018 Share Posted December 30, 2018 4 hours ago, Horner's Dynamic Range said: Rambo III The best of the trilogy. Elaborate. You have captured my intrigue with this notion. Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted December 30, 2018 Share Posted December 30, 2018 It has the most badass theme. I'm usually not one of those people because I'd just prefer the music be good regardless of the presence of any melodic themes. However, in Rambo III Goldsmith introduced an entirely new theme (It's musically related to the original) and puts it through various permutations. It reaches peak badass in tracks such as Under and Over, Night Fight, Final Battle and I'll Stay. Kasey Kockroach 1 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted December 30, 2018 Share Posted December 30, 2018 'Free Solo' is a documentary about the first person to ever free solo climb Yosemite's 3,000ft high El Capitan Wall with no ropes or safety gear. JWFan probably will bemoan the misleading title, expecting all kinds of Star Wars rattling, though it's so not. Marco Beltrami provides ethereal scores, tinged with the expected hypnotic minimalism but a good instrumental variety (piano, lots of plucked strings, percussion etc .). It's a few notches above the kind of music these things usually get but of its 50-minute running time and though it's done with a lot of skill, not that much stays with you. Still, it's a worthy entry for 2018. Link to comment Share on other sites More sharing options...
Brundlefly 2,385 Posted December 30, 2018 Share Posted December 30, 2018 4 hours ago, Horner's Dynamic Range said: It has the most badass theme. I'm usually not one of those people because I'd just prefer the music be good regardless of the presence of any melodic themes. However, in Rambo III Goldsmith introduced an entirely new theme (It's musically related to the original) and puts it through various permutations. It reaches peak badass in tracks such as Under and Over, Night Fight, Final Battle and I'll Stay. The scores get better, the movies ... they don't exist for me after First Blood. Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted December 30, 2018 Share Posted December 30, 2018 Rambo: First Blood Part II is a superb action film! Obi 1 Link to comment Share on other sites More sharing options...
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