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Hans Zimmer's WONDER WOMAN 1984 (2020)


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That sounds very Hans. Who cares what it's for. It's a DC song right? Just throw it in there!

Having watched the movie and listened to the OST twice, I can confidently say that this is one of my favorite scores of the year.   It has everything that made me fall in love with Zimmer's

Just saw the movie. The score was incredible in the movie and finally get to hear the two inserts that people have been talking about. The insert of "A Beautiful Lie" is actually pretty well done and fits the scene perfectly. I am not sure why they decided to use "Adagio in D Minor" in the aerial scene. Not that it wasn't well done, but they could have easily use a variation of Zimmer's WW theme in that.

 

There is a also a bunch of music missing from the album including a longer version of "Truth" that really like. Wonder if we will ever get an extended edition.   

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I was surprised by how enjoyable this score was. Definitely more lush and orchestral -- and Zimmer mostly avoids the harsh sound design that pervaded his work on his most recent movies.

 

There's a sense of adventure, playfulness, pathos and romance in this score. Really accentuates the better parts of the movie for sure.

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I love the score too. It does bother me they used John Murphy’s Sunshine track for that significant moment in the film - Zimmer’s Themyscira theme would have leant itself to a magnificent flying version. I wonder why they made that choice.

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Just got back from seeing the film and despite thinking the score was shite a week ago, I was pleasantly surprised to find how effective it was in the film. There were a few moments where it reverted to loud=epic but the theme was strong enough to pull it through.

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I liked the score a lot too, finally Zimmer delivered a great upbeat superhero soundtrack.  The truth theme is amazing. 

His music for Batman and Superman certainly fitted the vision of Nolan and Snyder, but his work for the Spiderman / Electro film was so bland.  

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4 hours ago, Gustavo Joseph said:

I liked the score a lot too, finally Zimmer delivered a great upbeat superhero soundtrack.  The truth theme is amazing. 

His music for Batman and Superman certainly fitted the vision of Nolan and Snyder, but his work for the Spiderman / Electro film was so bland.  

 

I really like his Spiderman score. Batman v Superman and Dark Phoenix are his bland superhero scores imo. Especially BvS. Dark Phoenix at the very least, works effectively in the movie.

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I've heard If you like dumb campy superhero romps, then it's probably for you. Otherwise, if you're someone who's come in liking the more serious DCEU entries (particularly the first WW film itself), then it'll probably leave a bad taste in your mouth.

 

I gave the score a second go, and I'm left feeling about the same as first time. I don't know what it is about HZ's lesser received scores appealing to me more, but it's kept being the case if something I enjoy like Dark Phoenix is considered another recent low of his that WW84 is heads and shoulders above.

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Pedro Pascal's villain is what saved this film for me, but there are a shitload of plotholes, leaps of logic and other issues. 

I wasn't a fan of the first film, so this one felt fresh and fun at times, even if things were slightly predictable.

 

Kristen Wiig's character 'Barbara Minerva' turns into 'Cheetah' human-cat hybrid for no reason, despite earlier in the film her wishing to become like Wonder Woman, who has no Cheetah traits at all...

 

The ending resolution reminds me of Doctor Who's The Last of the Time Lords where time is reversed via the people praying for The Doctor through the satellites to restore his power.

 

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6 hours ago, The Big Man said:

So is this movie actually any good at all? Seems to have sunk like a stone in the ratings.

 

I think people were expecting another war-themed movie like the first movie. There's aspects of it here (and certainly dramatic when it needs to be), but it's more light-hearted and campy in places. But there's a good earnestness here that echoes the Donner Superman and Raimi Spider-Man movies.

 

I loved the mall action sequence, it reminded me of the playful heroics in Superman and Spider-Man 2. What's wrong with having Patty Jenkins let her hair down and have fun with Diana Prince once in a while?

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4 hours ago, Arpy said:

Pedro Pascal's villain is what saved this film for me, but there are a shitload of plotholes, leaps of logic and other issues. 

I wasn't a fan of the first film, so this one felt fresh and fun at times, even if things were slightly predictable.

 

Kristen Wiig's character 'Barbara Minerva' turns into 'Cheetah' human-cat hybrid for no reason, despite earlier in the film her wishing to become like Wonder Woman, who has no Cheetah traits at all...

 

The ending resolution reminds me of Doctor Who's The Last of the Time Lords where time is reversed via the people praying for The Doctor through the satellites to restore his power.

 

 

Wiig's character did say on the plane that she no longer wants to be like anyone. She wants to be an Apex predator.

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I don't know if you can say a film has plotholes when it is centered around a magical rock that grants wishes.  Anything that happens after that is introduced you just have to roll with; You either sign up to be fine with it and enjoy what's happening without thinking about it much, or just get more and more disappointed by everything I suppose

 

I didn't really like it but I didn't like the first one either.  Both are easy to watch harmless fun though

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5 hours ago, Mephariel said:

 

Wiig's character did say on the plane that she no longer wants to be like anyone. She wants to be an Apex predator.

 

Then the parameters of the wish are undefined - meaning WW could've wished Steve back in his own body later on.

 

Why was Steve brought back in a different body anyway? It makes zero sense.

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Enjoyed the film as I watched it... but my brain definitely went "huh" at the bizarre plot contrivances (like some long-dead pilot WWI instantly understanding how to fly a modern plane from the US to Egypt, much less said plane having enough fuel for a cross-continental journey... WTF?)

 

The Kristen Wiig storyline was a poor imitation of the Selina Kyle plot from Batman Returns (I assume this is a source issue with the comics though; weirdly both originate from DC). Of course this turns into terrible CGI schlock by the end. Such wasted potential; they did a great job building sympathy for her character initially but it's resolved so cheaply.

 

The boyfriend-in-another-body storyline was probably the weakest element of the film. I get how it ties into the climax (having to relinquish your dreams for the greater good) but it felt like a lazy solution to resurrecting a dead character.

 

The wishing rock McGuffin? Meh. It's been done to death.

 

Score was good, far better than I expected from modern Zimmer. Yeah, it would regularly devolve to generic string progressions (where your brain pre-empts the next note before you hear it) but it was an effective score in the more dramatic sections.

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1 hour ago, The Big Man said:

Those numbers are pitiful! Pandemic or not. And the critical and audience response has been lukewarm at best.

 

Time to Joel Schumacher/Val Kilmer this thing.

 

Let's just put it this way. If the audience response to The Last Jedi didn't stop Disney, then the audience response to this film won't stop WB.

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18 hours ago, The Big Man said:

Those numbers are pitiful! Pandemic or not. And the critical and audience response has been lukewarm at best.

 

 

It was the best opening weekend since the pandemic started on March. And that's with 60% of America's theaters closed and the movie also coming out in HBO Max. Considering this, I'd say it was a pretty good opening, and apparently WB agrees.

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It's so refreshing to hear Zimmer break out of his soundscape / dialed-in sound he's been stuck in the past 5 years (i.e. Dark Phoenix, Dunkirk). And he intelligently develops and adds depth to the 'war cry' motif to make it a proper superhero theme.

 

I wish Zimmer had been this inspired when he did the Nolan and Snyder films. Because when he does a project he loves, he comes up with inspired work.

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I think it has less to do with how inspired he is and more with what the directors ask of him. Snyder and Nolan both like their movies to be dark and ominous and so they ask Zimmer to reflect upon that sound, but for this movie I guess Patty Jenkins wanted a more colorful and fun approach and that's what Zimmer delivered.

 

Also I watched the movie, and it's quite bad but the score really shines in it in some moments, especially with the new Diana's theme and Diana and Steve's Theme (the one in Wish We Had More Time)

What I don't really get it's the use of Murphy's Adagio in D Minor from Sunshine and Zimmer's own Beautiful Lie which don't really fit and took me out of the movie a bit

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On 12/28/2020 at 3:00 PM, Edmilson said:

As with most Zimmer scores, the complete score will eventually leak in the internet.

I’ve always wondered why his and other RC scores tend to leak so easily. Do they just have so many assistance etc than nobody notices?

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6 hours ago, Edmilson said:

I really missed these melodramatic Journey to the Line-inspired Zimmer cues. Good to see he returning to this kind of score:

 

 

 

Jep, more WW84 and less Dunkirk/Widows. Maybe the 20’s will be more melodic and orchestral! (crosses fingers)

 

Think my favorite of the album has to be the Diana/Steve love theme, but 1984 is such a joy to listen to. Really hard to pick. I think the love theme might even be up there with the Will/Elizabeth one from Pirates 3.

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On 12/20/2020 at 11:37 PM, Edmilson said:

Having watched the movie and listened to the OST twice, I can confidently say that this is one of my favorite scores of the year.

 

Well, we're only five days in yet. ;)

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Finally listening to this now

 

The track "1984" is great, what scene(s) in the movie is this written for?

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Hmmm, the track "Truth" just ended and sounded like the big finish to everything.  Now there's a "bonus track" playing called "Lost and Found" - what is this? A  cue from the middle of the movie somewhere, or is it demos or something?

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Thanks!

 

Yikes, "Lost and Found" just finished and I did not like it, what a boring bonus track; A single idea stretched out to 12 minutes!  WTF is this?


The core album was pretty good, though!

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