|
The movie recommendations thread, son (pg. 240)
|
View this Thread in Original format
| MSZ |
| Meh it didnt really satisfy me, the picture/cinematography was obviously amazing but I left pretty unsatisfied in the whole philosophical aspect, some of the cuts were awkward too tbh. Liked but definitely not loved. Then again, Hollywood/movies generally not my thing so take that with a grain of salt. |
|
|
| Zoso |
| quote: | Originally posted by MSZ
Meh it didnt really satisfy me, the picture/cinematography was obviously amazing but I left pretty unsatisfied in the whole philosophical aspect, some of the cuts were awkward too tbh. Liked but definitely not loved. Then again, Hollywood/movies generally not my thing so take that with a grain of salt. |
I should clarify by saying that given the "shoes to fill" this sequel had to accomplish after the cultish/cultural zeitgeist BR1982 turned into, finally, I am just glad that, generally, everyone seems satisfied that it did indeed accomplish that. Perhaps a comparison: let's take Star Wars: The Force Awakens. Then general consensus, me included, didn't outright hate/dislike the movie, but it just lacked a particular "something" that it needed to pick up where the originals left off. I will have to see BR2049 to personally make that determination, but the overwhelmingly positive reviews make me believe that it did accomplish this feat where something like SW:TFA failed. |
|
|
| Sushipunk |
| quote: | Originally posted by MSZ
There wasnt any soundtrack, just some sfx; Thats what it felt like anyway. |
As I said, more atmospheric, less movie score.
I don't mind that at all in sci-fi. I thought it worked very well. Personal preferences though, no probs man. |
|
|
| MSZ |
| Have some gripes with the later part of the movie but im not going to discuss spoilers and such, I may have said too much already, sorry. |
|
|
| SYSTEM-J |
| I'm seeing it on Sunday, so will report in. Think it warrants a separate thread, to be honest. I was extremely sceptical of even seeing the damn thing, but the reviews are so good I've been reeled in. |
|
|
| DJ RANN |
| quote: | Originally posted by Sushipunk
As I said, more atmospheric, less movie score.
I don't mind that at all in sci-fi. I thought it worked very well. Personal preferences though, no probs man. |
I saw 2049 a couple of months ago (at least very near final edit) and I'm glad it's getting good reviews.
As for the score, it was always going to be more atmosphere than themes, and don't forget that Hans was only brought in half way through to replace Johann who was er, "moved" to another project. Hans is often more atmopshere than tune anyway, he's not in the same vein as williams or newmans or silvestri etc so what were people expecting?
It actually seems bizarre Hans wasn't in it from the outset. Who else really holds the mantle of today's hybrid synth composer? As for it not being enough vangelis, Hans is never going to do a copy and I think given the short time frame he had to fix the mess, he did a great job. |
|
|
| SYSTEM-J |
The score is a massive part of the original. The film is practically an extended music video, in many ways.
I don't really like Zimmer's contemporary style. He's the market leader in the new style of film score than shuns leitmotifs and melodies in favour of dense sound design. I thought his score for Dunkirk was irritating and devoid of emotional content, for example. The polar opposite of what Vangelis did in 1982.
Again, I haven't seen the new film yet, but this change of musical tack is another hurdle that must be overcome if I'm to believe the hype. |
|
|
| MSZ |
| For me the thing that made the OG soundtrack so good was the feeling of imagination, and this had none of that. The picture oozed imagination which was a shame. |
|
|
| DJ RANN |
| quote: | Originally posted by SYSTEM-J
The score is a massive part of the original. The film is practically an extended music video, in many ways.
I don't really like Zimmer's contemporary style. He's the market leader in the new style of film score than shuns leitmotifs and melodies in favour of dense sound design. I thought his score for Dunkirk was irritating and devoid of emotional content, for example. The polar opposite of what Vangelis did in 1982.
Again, I haven't seen the new film yet, but this change of musical tack is another hurdle that must be overcome if I'm to believe the hype. |
I'd suggest seeing the film before judging the score.
Hans does what he does and he is far more sound design than most other composers (and a lot of other composers use sound design for a lack of musical talent - see Trent Reznor for more details).
He's always been heavily entrenched in sound design, and not so much motifs or melodic themes, although True Romance, Gladiator and the Lion King would be good arguments of the opposite. There's a reason he's arguably one of the top 5 or even 3 living composers, and his niche has been to do something different be it the heavily synth and drone laden arrangements, or relying more on atmospheric tropes than thematic composition.
I will say, he knows what he's doing and when to use atmosphere and sound design over melody and motif. Dunkirk was that way for a reason. Dark knight straddled to the two perfectly. Smillas feeling for snow does the same.
I actually think given that BR2049 is more atmosphere than plot, he got it right, and the thing people keep forgetting is that he was only brought in half way through, once Johannson had failed to deliver a cohesive vision (See daft punk and Tron for more details). |
|
|
| Jon_Snow |
| I hated every minute of it, despite not seeing it. |
|
|
| SYSTEM-J |
| I'm literally only seeing it because of the reviews. I'm still deeply sceptical going in. |
|
|
| Lews |
| I haven't read the reviews, but I heard they were good so I caved and now have an IMAX ticket for Tuesday :( |
|
|
|
|
