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Lorne Balfe's BLACK WIDOW (2021)


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Yeah, but I believe that an Arnold spy score is not what they're looking for. They hired Balfe because they wanted a Remote Control-like spy score, similar to The Winter Soldier and Fallout. 

 

Heck, they probably temped the whole movie with Fallout, and when they saw that Desplat wouldn't be able to provide that sound, they went after the Fallout composer instead.

 

But if the rumour is true, I don't know why they didn't stick with Balfe and hired Jackman.

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15 minutes ago, Koray Savas said:

You haven’t noticed how weird film score fans can be?

 

I'll create a fake John Williams account and post that I'm already working on Star Wars Episode X :lol:

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17 hours ago, Edmilson said:

they probably temped the whole movie with Fallout, and when they saw that Desplat wouldn't be able to provide that sound

 

I'd argue Desplat is able to provide any style, really. IMHO it's rather that he has no interest in providing that specific sound, which I can understand.

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  • 5 months later...

Sounds like placeholder music. I may not particularly be fond of the Fallout score, but a similar set piece in that was scored much more efficiently. Are we sure this isn't just the temp still?

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  • 4 weeks later...

Balfe score in this clip

 

 

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Sounds exactly like what I'd expect....

 

:sleepy:

 

...so naturally, the general public are going to think it's the greatest thing ever.

 

Give me some proper music.

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A lot better than the previous clip, but it still can't help but feel like Fallout/BBFL once more. The man really needs to vary his workload so that he actually doesn't run on auto pilot for the rest of his career.

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  • 4 weeks later...

Album details:

 

1. Natasha’s Lullaby (3:24)
2. Latrodectus (2:40)
3. Fireflies (3:13)
4. The Pursuit (2:53)
5. The First Bite Is the Deepest (3:05)
6. Last Glimmer (4:19)
7. Dreykov (3:34)
8. You Don’t Know Me (2:01)
9. Yelena Belova (3:36)
10. From the Shadows (3:44)
11. Hand in Hand (2:46)
12. Blood Ties (2:54)
13. Whirlwind (3:28)
14. Arise (2:13)
15. Natasha’s Fragments (1:55)
16. A Sister Says Goodbye (4:14)
17. I Can’t Save Us (1:51)
18. Red Rising (3:57)
19. The Betrayed (5:38)
20. The Descent (2:05)
21. Faces to the Sun (1:51)
22. Natasha Soars (2:19)
23. Last Love (1:59)
24. Into the Past (4:55)
25. Broken Free (3:09)
26. A Calling (2:10)

 

http://filmmusicreporter.com/2021/07/05/black-widow-soundtrack-album-details/

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Saw the movie. Score is nothing special. Not bad, not good, pretty average. Typical RC bravado. At least he didn't reused whole track ideas from Modern Warfare 2 like in Bad Boys For Life.

Nice use of choir and one little reference to Silvestri's Avengers theme in the end. That's all. Enjoyed the movie tho.

I'm thinking that separate listening experience will improve my opinion but I'll need to wait for score release.

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On 6/12/2021 at 12:10 AM, HunterTech said:

A lot better than the previous clip, but it still can't help but feel like Fallout/BBFL once more. The man really needs to vary his workload so that he actually doesn't run on auto pilot for the rest of his career.

 

He's done it so far with great success.

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Nothing much to remember. It works well with the movie although I would have a more clear idea when I'll listen to the album.

There's just the beginning of the end credits that kept my attention but I don't remember this part to be featured elsewhere in the movie.

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I'm listening to the OST right now.

 

Track 2 is a mix between Inception's BAAAUNNNS with some action music John Powell-style. Overall, it's okay so far, though I still think Desplart could've written a more interesting score.

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The music has a certain 'fun' aspect to it that I do appreciate, even if its not what I expected actionwise.

I guess I am just a sucker for that Soviet chorus.

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It's pretty generic so far, with a lot of RC-zisms that I've come to expect from these scores, but... Well, track 13 is a bit more fun than the other action cues, with a cool mix between trumpets and synth that reminded me of Desplat's Valerian.

 

If they did used Valerian as temp track, it's even more weird why they fired Desplat. 

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On 11/23/2020 at 6:29 PM, Lord Zimmer said:

 

Seems legit....

1E78CDBE-CEA7-4717-854B-E28528483318.jpeg

 

Someone should teach Mr. Jackman the basic comma rules.

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I've started listening to OST and it's already more interesting than it was in the movie because there are lyrics in Russian. And since I'm from Russia, it's only doubles the coolness of it.

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What? Did they remove the lyrics in the movie? Or was the mixing so bad they were inaudible?

 

I do wish more tracks used the synthy aspect like in Whirlwind.

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36 minutes ago, MedigoScan said:

What? Did they remove the lyrics in the movie? Or was the mixing so bad they were inaudible?

 

I do wish more tracks used the synthy aspect like in Whirlwind.

Seems like they removed it or I haven't simply noticed them. Mixing is pretty good.

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Just finnished to listen to it and I really liked it. Unlike many here I don't mind Balfe's loud orchestra (at least not always). This score sounds like a crossover of His Dark Materials and Fallout which are the two Balfe's score that I actually find good.

Thought that the Russian part were quiet nice so where the action cues.

However I don't think that Desplat would have done a much better score. His action scores are usually quiet disappointing (apart from Godzilla)

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This score is good. That's all. The choir stuff is okay. The action stuff is actually very interesting with full use of woodwinds and intriguing rhythms and the much-vaunted 118 player orchestra. No silly digital compression here with the brass. Tracks like Whirwind are fascinating. As someone already pointed out, it does sound a lot like Desplat's Valerian, and I have to echo that call - if this is what they wanted and if this is the range they work with, why not just stick with Desplat especially as a lot of the synth backing is very very similar to his stuff. Anyways, a good effort by Balfe but one has to ask why not go with Desplat who would have brought a much more refined approach to the choir stuff at the very least. 

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2 hours ago, thestat said:

This score is good. That's all. The choir stuff is okay. The action stuff is actually very interesting with full use of woodwinds and intriguing rhythms and the much-vaunted 118 player orchestra. No silly digital compression here with the brass. Tracks like Whirwind are fascinating. As someone already pointed out, it does sound a lot like Desplat's Valerian, and I have to echo that call - if this is what they wanted and if this is the range they work with, why not just stick with Desplat especially as a lot of the synth backing is very very similar to his stuff. Anyways, a good effort by Balfe but one has to ask why not go with Desplat who would have brought a much more refined approach to the choir stuff at the very least. 

 

I think it is a overall good score. I actually think the non-action stuff are my favorite. But I do like "Whirlwind."

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I'm seeing this film in a couple hours; If there's a particular scene where I should pay attention to see if there is Russian choir or not, let me know and I'll do my best

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I noticed choir in a few more places as well, underscoring Taskmaster (especially, I think, during the motorcycle/car chase).  It did seem a bit dialed down, or maybe the sound effects just won out over it.  Haven’t listened to the score separately at any point.

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17 hours ago, Disco Stu said:

I definitely noticed the choir in the scene when Natasha fought all the widows.

 

Did she kill all their husbands first?

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I noticed choir in four scenes in the film, but I foolishly didn't hop on to post what they were right after I saw it, and now I don't remember which scenes they were lol

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I got the D+ access so I could theoretically blip through it a second time if it’s an urgent matter.  I recall them all being related either to action scenes or Taskmaster scenes.  Haven’t listened to the score separately yet to see if that jives with Balfe’s vision.  Seems like an awful lot of scrutiny for what sounded like a serviceable action score, though!  That’s not a diss, btw - servicing the film is the score’s job.

 

Don’t know if it’s a needle drop or part of the score, but that blast of Silvestri’s Avengers score at the end felt pretty out of place in the movie, especially sandwiched between Natasha’s goodbye and the nice little firefly coda moment.

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I thought the score in the film was really quite bad.  Not only did it sound like nothing I'd have an interest in listening to outside of the film, often it felt like the wrong choice for the scenes in question

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