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True enough. They didn't linger too much on the origin part anwyay.....just got to it and then moved on, so I didn't mind it so much.
Marvel is going to have a big job trying to reboot the Spider after Sony's screw ups there over the past few years. I'm tired of seeing his origin story quite frankly.
Watching this movie made me realize how much Archer was inspired by Solo (and Bond) It was like watching live action Archer at times..
And now I am pretty sure that Barry from Archer is probably inspired by Ilya......
Archer fans should enjoy The Man from U.N.C.L.E. (movie)
Don't get me wrong, I liked Uncle's score, and also appreciated the return of the Cimbalom, which really is sinister sounding when used correctly (I hope they use it in SP, perhaps for Blofeld's theme) but I thought MI5 aced everything this year.
I would rate the 'spy scores' of this year in this way:
01. Daniel Pemberton with "The Man From U.N.C.L.E."
02. Henry Jackman with "Kingsman: The Secret Service"
03. Joe Kraemer with "Mission: Impossible - Rogue Nation"
04. Theodore Shapiro with "Spy"
05. Nathaniel Mechaly with "Taken 3"
The score kicks in at about 1:10 in full glory with the cimbalon in effect. There's a Danny Elfman vibe to it as well.
However, I personally preferred MI -RN as a true out and out spy score while watching the film. It was more traditional no doubt, and had the famous MI theme to play off of, which it used beautifully without being boringly repetitive, but I felt it just fit the movie and the action perfectly and seamlessly.
The Uncle score seemed more of an audition by Pemberton for me......for work on a future Bond perhaps?
I thought M:I score was repetitive and had M:I theme in almost every "song" which was too much for me tbh :D
Well, I liked the score a lot too. Don't get me wrong. My favourite tracks of Joe Kraemer's score are the first and the last track. And indeed, he uses Lalo Shiffrin's "Mission: Impossible" theme wonderfully. Still, it's not very fair to judge a score on how it fits the action.
For the exact same reason David Arnold was hired back in 1996 to compose the score for "TND". And let's face it, "U.N.C.L.E." hasn't got that much action as compared to "Rogue Nation". In fact, the amount and style of action is deliberately low-key and old-school as compared to the early 1960's Bond films. Is suddenly "FRWL" worse compared to "Rogue Nation" because it has less action and more....espionage?
I think this sets the Daniel Pemberton score apart from so many other action scores of these days. It literally grabs back to the instruments and sounds of the spy films from the 1960's and uses them to give a succesful retro-sound that for many youngsters around here feel "weird". A retro-sound that's packed into more memorable themes, compositions and melodies.
Guy Ritchie was actualyy very critical about the music choice for this film. He didn't want a Joe Kraemer or David Arnold. He really wanted to have a composer that sounds fresh among today's movie composers. Also that same amount of inventiveness I also liked about Thomas Newman's score for "Skyfall".
Off course it's also a matter of taste or opinion. But a track like Pemberton's "The Unfinished Kiss" is actually something I really miss in today's action films. A bit of melody that doesn't depend on scores previously composed by Monty Norman, John Barry or Lalo Shiffrin. A melody that makes a movie stand out from other movies.
It's actually something John Barry did! Just a few examples:
"Spy Theme: The Ipcress Files" (it sounds mysterious):
"Love Theme: We Have All The Time In The World" (it sounds romantic):
"Spy Theme: The Persuaders" (it sounds mysterious):
"Love Theme: Kara Meets Bond" (it sounds romantic):
And now Daniel Pemberton:
"Love Theme: The Unfinished Kiss" (it sounds romantic):
"Spy Theme: Laced Drinks"" (it sounds mysterious):
The above 'original melodies' are something that to an extent some of the current Bond films, but especially the "Mission: Impossible" films really miss. They all have something in common: They are memorable, you can whistle them. And they are by no means 'action filler music' that have been composed to blend it in too heavily with the action.
"Rogue Nation" deserved an original theme surrounding Ilsa Faust's strong character. Similar to what Thomas Newman did to Severine.
I really hope that Thomas Newman stays after "SPECTRE" within the Bond family. But if he leaves, EON Productions should seriously consider Daniel Pemberton.
Once again however, Barry sample postings just shame everything else.
As I mentioned in my review of the film, I really liked the samples I heard which were posted before the movie's release. However, when I was watching the film, the tracks were not as impressive for some reason. They did not seem as integrated into the film as I wanted, but rather seemed to compete with the dialogue and what was on screen.....and was actually somewhat distracting, like Zimmer's score for TDKR. I'm not sure if this was because of the IMAX theatre in which I watched the film, or the sound mix, or something else.
I'm sure I'll prefer this score when I purchase the soundtrack cd, because I'm liking it much more just when listening to the clips without the accompanying visuals.
I just felt that the MI score sort of supported the film and action seamlessly, rather than compete with it. I came away completely impressed.....twice.... That does not mean I'm going to buy the MI soundtrack or anything....just that it worked well with the film. I felt the same way about SF (I don't have, nor will I buy that soundtrack either, but I loved it with the film).
And by looking into that, I find Daniel Pemberton slightly more groundbreaking than Joe Kraemer.
Completely 100% in agreement on Barry. I have his scores on rotation in my car and never tire of them. Never. They are timeless......a bit like classical music. They always supported the action they were composed for perfectly but were also timeless & beautifully melodic stand alone pieces. That is their genius, and his genius......in fact there are are so many Bond scenes that just wouldn't be the same without the accompanying music from Barry and yet you can sit down without the film and still enjoy the piece on its own.
Pemberton is not quite there yet in my eyes, because, as I said, his compositions seemed a bit dialed up in comparison to what was going on on-screen imho. They were not as seamlessly integrated into what was happening, but rather, to my ears at least, had a 'tacked on' feeling. That's why I said earlier that it sounded like an audition tape for James Bond.....like he wanted to send the message to EON to hire him....that he's suited for greater things.
I agree that he definitely is much more groundbreaking than Kraemer, and has shown great potential. In a way, I kept thinking the following while watching the film:
I get it Daniel.....you're great...now please stop showboating and dial it back to support what's on screen please...
What the film convinced me of is I don't want to see Henry Cavill as the next James Bond. I realize he was acting as an unflappable, too cool to express himself in more than one note American, but his performance did not work for me. It felt less like a reinterpretation of Robert Vaughn and more like Roger Moore on downers. And the chemistry between he and Hammer was absent. Nothing about their relationship was interesting. I liked the girl. But the entire film is flat and lacking energy and spark. The humor is low key, often too much so. I do think the film gets better toward the end. The characters seemed to have meshed a little better, but it was far too late.
The acting and lack of chemistry between the leads aside, this would have been a better film if the end of the film had served as a PTS. With the relationships established, we might haven't gotten the film the current ending seems to suggest as a sequel.
55 million USD worldwide and it has already vanished from most cinemas (Switzerland, Germany) which indicates it's done.
Having seen UNCLE I must say I see why it has failed. Although the movie is quite enjoyable it is nothing for the masses. Furthermore Guy Ritchie is not big box office material. Sherlock Holmes being the only exception and frankly, Holmes with Downey Jr. was an easy sell, that even Ritchie couldn't destroy.
It's a shame, especially for Hammer which I really would like to rise to stardom.
If Ritchie's upcoming King Arthur is not a huge success, he will be finished more or less and become one of those directors that had a great start but didn't deliver anymore later.
Ritchie always did great movies that Americans didn't quite "get" which is why they never make a lot of money.
Of course the only exception would be him making a movie about worldwide known character played by an American
I can't be the only one that thinks that Cavill looks like Roger Moore in this pic ?
Give us updates, not RE-TAKES on these classics!!!!!!