publicist 4,643 Posted November 20, 2018 Share Posted November 20, 2018 8 hours ago, TheUlyssesian said: There is such hypocrisy in film criticism when it comes to discussing film scores. Hypocrisy and a narrow-minded myopic ignorance. You mean like people forever living in the early 80's or getting all nasty when someone doesn't find Jurassic Park the best thing since sliced bread? Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted November 20, 2018 Share Posted November 20, 2018 Hey, sliced bread is great, but Jurassic Park? That's something else! Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 20, 2018 Share Posted November 20, 2018 Literally true. Link to comment Share on other sites More sharing options...
TheUlyssesian 2,473 Posted November 20, 2018 Share Posted November 20, 2018 3 hours ago, publicist said: You mean like people forever living in the early 80's or getting all nasty when someone doesn't find Jurassic Park the best thing since sliced bread? No. I wouldn't know because I didn't read contemporary reviews of Jurrasic Park the movie. I mean film critics today that scoff at Melody in a film score when it comes from the usual sources but would applaud it and call it bold if it came from say Johnny Greenwood. I sense prejudice when they essentially change their estimation of a score based on who wrote it. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 20, 2018 Share Posted November 20, 2018 But - unfortunately - neither John Williams nor James Newton Howard et al. have written a film score in recent times that merits that kind of praise. Because if Johnny Greenwood wrote stuff like i. e. War Horse or Fantastic Beasts he would be quite rightly labeled as very able talented craftsman just repeating old patterns once again. Link to comment Share on other sites More sharing options...
Caliburn 72 Posted November 21, 2018 Share Posted November 21, 2018 For who is interested in my thoughts, here is my review https://soundtrackworld.com/2018/11/first-man-justin-hurwitz/ Zanobard 1 Link to comment Share on other sites More sharing options...
John 2,032 Posted January 7, 2019 Share Posted January 7, 2019 Congrats to Hurwitz for winning the Golden Globe for best score for his work on First Man! SteveMc 1 Link to comment Share on other sites More sharing options...
SteveMc 2,674 Posted January 7, 2019 Share Posted January 7, 2019 A deserved win, I think. Very Golden Globe score, methinks. The Illustrious Jerry 1 Link to comment Share on other sites More sharing options...
Popular Post Disco Stu 15,495 Posted November 22, 2019 Popular Post Share Posted November 22, 2019 This score is seriously indelible. It's really stuck with me over the past year or so. I listened to my OST assembly last night and then the Cincinnati Pops recording of the main theme. I really think this one's gonna stick around. Lord Zimmer, SteveMc, Not Mr. Big and 2 others 5 Link to comment Share on other sites More sharing options...
karelm 2,902 Posted November 23, 2019 Share Posted November 23, 2019 8 hours ago, Disco Stu said: This score is seriously indelible. It's really stuck with me over the past year or so. I listened to my OST assembly last night and then the Cincinnati Pops recording of the main theme. I really think this one's gonna stick around. It is serviceable not indelible. Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted November 23, 2019 Share Posted November 23, 2019 16 minutes ago, karelm said: It is serviceable not indelible. Two opinions passing each other in the night karelm 1 Link to comment Share on other sites More sharing options...
Jay 37,267 Posted November 26, 2019 Share Posted November 26, 2019 Marcy and I watched this film recently, and I enjoyed the score in it a lot, but haven't been compelled to listen to it outside the film yet TSMefford 1 Link to comment Share on other sites More sharing options...
toothless 963 Posted November 26, 2019 Share Posted November 26, 2019 Score is great outside the movie Regularly listen to it. Link to comment Share on other sites More sharing options...
badbu 123 Posted January 17, 2021 Share Posted January 17, 2021 anyone have the complete cue sheet list? Link to comment Share on other sites More sharing options...
The Illustrious Jerry 3,356 Posted August 9, 2021 Share Posted August 9, 2021 My shortened program of Hurwitz's score has been getting a lot of plays lately. The more time that passes, the more I realize just how much I appreciate this as one of the finer entries in recent memory. The album is far from a worthy presentation, as this is a score whose heights are best traversed over the welcome span of half an hour (hence the playlist). And yet even within such a concise timeframe, it is abundantly clear just how well it all clicks. When put to picture, it's immensely serviceable, and as a companion to the production design and photography, it's probably the film's greatest strength. Away from the movie, however, it very much holds up as a fairly regular listen in my rotation. It's really well-scored and the highlights communicate that without a shadow of a doubt. There are three core ideas that hold it all together: the main theme (channeling The Blue Danube in Docking Waltz, as a big outburst in The Landing, and eerily on theremin in Quarantine), the b theme (with energetic strings in Houston, on harp in The Armstrongs, reaching for takeoff in Apollo 11 Launch, and as the ostinato through line in The Landing), and Houston/NASA (throughout the training sequences, also the basis for the End Credits). Each of these are applied and combined in a wide variety of settings to great effect, from the overtly romantic to something closer and more grounded. It's fascinating to think that we hadn't really heard Hurwitz work outside of the jazz/swing/band idiom up to this point. While cues like Planetarium and Epilogue were an indication of strong melodic writing and a wide array of orchestral colours, it was hard to know what to expect. In the end, this score turned out to be a very good confirmation of Hurwitz's promise as a film composer. I'd really love to see him branch out, but it's clear that he's only keen on working with a director he really knows and trusts at this point. All the same, I look forward to Chazelle's next feature, Babylon, as I'm sure it will turn up some interesting results. Not Mr. Big 1 Link to comment Share on other sites More sharing options...
TheUlyssesian 2,473 Posted August 9, 2021 Share Posted August 9, 2021 I think his primary promise is still in the very heavy melodic romantic chromatic sound. Both in the main theme of LLL (the non song main theme) and the main theme of First Man, there is this almost throwback quality like a John Barry style grand romantic theme. He really is quite excellent at it. That is why I think he's begging to score a Bond in the Barry mode. I mean he would just totally kill it. I imagine he will do very well with Chazelle's Babylon as well. That is literally based in golden hollywood and would very well support a big lush romantic melodic symphonic orchestral score. Lord Zimmer 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,008 Posted August 9, 2021 Share Posted August 9, 2021 On 11/26/2019 at 6:52 PM, Jay said: Marcy and I Sounds like an early 00s romcom. Link to comment Share on other sites More sharing options...
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