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Comments
5.30 onwards is sublime, I must say. I was glad they used that particular version for the end credits of BvS.
Looking forward to being proven wrong.
Yeah, right after the dirt floating end. Perfection.
Danny Elfman's Batman: Hold my cowl.
Danny Elfman's Batman score: hold my limited edition McDonald's Batman glass mug.
Danny Elfman's Josstice League: hold my beer.
Plus the Dan Brown movie trilogy, in all of them, there is the "Chevaliers de Sangreal" theme.
Just my two cents.
Nothing wrong with any of those, though I think Inferno's score was more than a tad weaker in comparison with the other two.
Ironically, both The Russia House and Rising Sun (one of the weirdest films I have ever seen) have sigbnificant Bond elements.
Ooh yes I forgot that one. That is one that I find genuinely to be one of my favourites: that's a cracking bit of music.
Very much my sentimets too!
Except I'm a bit afraid of the volume of the music in the theater. Maybe somewhat analoguous to a slight feeling of uncomfort in my stomach after that burger ;-).
Most people seem to judge a film score according to single tracks, so of course they will be happy with Zimmer. I'm not worried that there won't be any good track, I'm certain there will be a few amazing ones. The reason I'm against Zimmer and his cohorts is that I can't think of one single film score by anyone of the bunch that doesn't sink in boredom along the way, no matter how cracking some single tracks might be.
Marc Streitenfeld might be an exception. His score for Prometheus was pretty good, and Robin Hood wasn't bad too.
Outside the legendary likes of Williams, Goldsmith, Morricone and (of course) Barry, isn't that the same for most modern soundtracks these days? Its the current sad state of Hollywood, with its mindless action CGI, super hero Marvel fest, and the unimaginative soundtracks that accompany them go hand-in-hand.
I think the best of the modern day composers is Zimmer. He is as good as it gets right now, and is capable of creating decent tunes. The rest of the composers these days are unfortunately the likes of Romer - good at banging out atmos crap that can accompany the latest Marvel fest, or Netflix drama.
Those bygone golden days of proper composed and orchestrated soundtracks, with strong themes are long gone. Zimmer is all that is left.
I agree but also disagree. There still are scores out there that hit hard. Trent Reznor and Atticus Ross have been doing some tremendous work the past decade, and I think they are better than Zimmer. Hilda Gudnadottir's work on Joker was stellar, as well.
See that’s where I’m at with Arnold, which is why I find so many requests for his return a bit puzzling. A hummable tune occasionally but thin stuff over all. For me, Zimmer has shown many times he can actually conjure a bit of power behind his music if he needs and I’d say folks have posted quite a few examples of that in this thread over the last day or so.