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Everything posted by KK

  1. I thought Alex loved The Crown? The Crown is definitely better than Downton Abbey, though it gets pretty soapy in its own way. Claire Foy is brilliant and indeed a beauty.
  2. Thank you guys!! Appreciate it
  3. Zimmer is hardly the first to use the organ in a non-religious context in film, or even in a sci-fi context. But yes, Interstellar's score mostly works quite well. I believe the boys were referring to Dunkirk, where the incessant pulsating was exhausting...
  4. This X-Men score definitely sounds like a phone-in job. But the Nolan scores certainly represent his artistic curiosities with his sonic palette more accurately. He moved on from colourful/traditional orchestral scoring a long time ago. It's unreasonable to ask him to be his 90s self again.
  5. I suspect his assistants would have done most of the work. I don't think he's interested in writing that kind of music anymore. Which is fine. But I do want to hear Zimmer really care about a project again, which I haven't really heard since Interstellar. Hopefully Dune delivers...
  6. That was Mr. Robot! Which I actually started up again recently! Will post on that soon.
  7. She's especially brilliant in the first season. I thought her character was kind of sidelined in the second season.
  8. Oh definitely! But it's fun. It's like most modern pop. Nothing's original. At best, you get some pretty ear candy, at worst, meandering sentimental bullshit. Depends on your tolerance for this kind of stuff.
  9. It's fun soap, if inconsequential. I'll watch the second season.
  10. I appreciate this. Zimmer produces albums better than the McCrearys and Desplats of the world. Sadly the first track is the best of the bunch.
  11. Too much Dunkirk in the mix, with a little TASM2 sprinkled over it. It's mostly garbage. Shame though, I was actually kind of looking forward to this.
  12. Einaudi is more of a pop musician than a "classical composer". I have little patience for most of his stuff, but occasionally he makes some nice ear candy:
  13. Jordan Peele on Midsommar: "Holy shit. That was some of the most atrociously disturbing imagery I've ever seen on film."
  14. X-Men: Dark Phoenix by Hans Zimmer Sigh.
  15. Their original stuff tends to be more interesting than Netflix lately though.
  16. I think anyone who works in the industry knows full well that Pattinson is a credible talent. Twilight has certainly not doomed his career. It just made him rich.
  17. I don't know about Bale, but I'll agree on Affleck. In the end, it's a career arc that works well for these guys. Find a popular franchise to launch your stardom and find financial security, then spend your time after pursuing projects that land you artistic credibility (Pattinson/Stewart with Twilight, Dakota Johnson with Fifty Shades, Jennifer Lawrence with Hunger Games, etc). Pattison is a good actor, and he's clearly been playing his cards right.
  18. It's good. The opening and closing episodes are brilliant. It gets too procedural in between though, but a solid watch.
  19. Godzilla: King of Monsters by Bear McCreary Is it finally over? Thank God. Not that it's necessarily bad, but I clearly don't have the patience or tolerance for this kind of "wall-of-sound" blockbuster scoring anymore...and this was only with pub's abridged playlist, mind you. Some fun colours and clever Ifukube callbacks aside, it's just more of the same inane ostinato driven, big-drum pounding noise isn't it? At the end of the day, too much of it just comes across as anonymous support material/sound design for VFX. I'm glad some people are enjoying it though. There is more craftsmanship and production value here than your average RC score, sure. But is it really any better as music? McCreary just seems to lack a very interesting musical vision or voice, something I find myself feeling with a lot of his work. In that sense, it pales in comparison Desplat's leaner and bluntly ferocious work.
  20. I don't think the metaphor was all that subtle. I'm not sure how the whole thing holds up to scrutiny, but I like the literary quality to it.
  21. Dixon Hill is Grey?! I was wondering who that was! Newman always offers brilliance in doses, but usually struggles tie these doses with strong central ideas. Like a master improviser who gets lost in the nebulous space of his studio sessions. Though there was a time in the earlier days when he found a way to make these "pockets of sound" serve as strong/functional recurring musical ideas (think: A Series of Unfortunate Events). Skyfall has aged well for me though. Again, lack of memorable central ideas, and some pedestrian action aside, it musters a lot of effortless swagger that screams contemporary Bond: And then of course true to Newman, the lyrical stuff is extra haunting:
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