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Favorite Film Scores of This Century (2000 - Present) - Page 3

post #101 of 152
Thread Starter 

In terms of the video game scores I am familiar with, Michael Giacchino's SECRET WEAPONS OVER NORMANDY is absolutely fantastic, and all the proof I need that he could write a killer Indiana Jones score if the time ever came...

 

post #102 of 152

So don't tase me bro!

 

Just want to share things that don't get some love. This from Danny Elfman's score of Terminator Salvation: 

 

 

And Marco Beltrami's score for Terminator 3: 

 

 

 

post #103 of 152

Bear McCreary did some nice work on Sarah Connor Chronicles:

 

post #104 of 152

I agree w/ all of the TFA talk on the previous page. The March of the Resistance is awesome. Rey's theme is an absolute knockout. Jedi Steps is majestic and mythic in every way it needs to be.

 

So let's go back to 2002 and the worst of all theatrically-released live-action Star Wars films. A movie in which John Williams almost makes one of the worst love stories of all time work through sheer force of musical will. Because Across the Stars is magnificent. It's huge and sweeping and lush in the way that the best Golden Age movie scores are. It has enormous dynamic range and malleability. It's instantly memorable, and singlehandedly redeems TBH probably what would otherwise the weakest SW score. It's so good that even if the film had His Girl Friday-level banter between Anakin and Padme, it would still be better as a silent film with this music standing in for the dialogue. And it's a cornerstone in arguably the greatest passage of music in the entire prequel trilogy:

 

 

Between 1:49 and 4:43, John Williams musically sums up the entire film with elegance and far superior storytelling to the previous two hours and twenty minutes. The eerie, melancholy suspense that tells you the Jedi are doomed, the birth of the Empire as the Imperial March makes its grandly malevolent debut, and the desperate hopeful and doomed romance as Across the Stars hits its climax, all building to that huge musical cliffhanger and that amazing transition into the final credits.

 

Also, the sadly-deleted Arena music is really fucking cool and should've been incorporated much more than it was.

 

post #105 of 152
Thread Starter 
Quote:
Originally Posted by Dent6084 View Post
 

I agree w/ all of the TFA talk on the previous page. The March of the Resistance is awesome. Rey's theme is an absolute knockout. Jedi Steps is majestic and mythic in every way it needs to be.

 

So let's go back to 2002 and the worst of all theatrically-released live-action Star Wars films. A movie in which John Williams almost makes one of the worst love stories of all time work through sheer force of musical will. Because Across the Stars is magnificent. It's huge and sweeping and lush in the way that the best Golden Age movie scores are. It has enormous dynamic range and malleability. It's instantly memorable, and singlehandedly redeems TBH probably what would otherwise the weakest SW score. It's so good that even if the film had His Girl Friday-level banter between Anakin and Padme, it would still be better as a silent film with this music standing in for the dialogue. And it's a cornerstone in arguably the greatest passage of music in the entire prequel trilogy:

 

 

Between 1:49 and 4:43, John Williams musically sums up the entire film with elegance and far superior storytelling to the previous two hours and twenty minutes. The eerie, melancholy suspense that tells you the Jedi are doomed, the birth of the Empire as the Imperial March makes its grandly malevolent debut, and the desperate hopeful and doomed romance as Across the Stars hits its climax, all building to that huge musical cliffhanger and that amazing transition into the final credits.

ATTACK OF THE CLONES is my least favorite of Williams' SW scores, but one of them had to be.  That finale cue is absolutely extraordinary on all levels, but it's the final 90 seconds where Williams pushes it all over the top and creates one of the best moments of music in the entirety of the prequels (which, naturally, was deleted from the film mix; thanks, George!)...

The way he weaves together Across the Stars, Anakin's theme, and the Imperial March is absolutely masterful and spine tingling.

post #106 of 152
Thread Starter 

Howard Shore's LORD OF THE RINGS scores are absolute masterworks.  His scores for THE HOBBIT don't merit that kind of praise, but they're incredibly dense, thematic, and rich works that absolutely should get more love than they've gotten so far.  Of the three, THE DESOLATION OF SMAUG is easily the best, offering some phenomenal action setpieces...

 

 

... some phenomenally evocative and eerie scoring for Smaug (a character that obviously inspired Shore because he gave him two themes)...

 

... and some truly gorgeous new elvish material...

 

 

We can debate the worth of the actual films, but the scores - though certainly not on LOTR's level - are packed full of great stuff.

post #107 of 152

Inside Information is an absolute knockout of a track. The use of the bells is a particularly inspired touch, and the way Shore slowly builds and layers menace feels almost Lovecraftian, rising to a musical shriek of raw power and terror.

post #108 of 152
Thread Starter 
Quote:
Originally Posted by Dent6084 View Post
 

Inside Information is an absolute knockout of a track. The use of the bells is a particularly inspired touch, and the way Shore slowly builds and layers menace feels almost Lovecraftian, rising to a musical shriek of raw power and terror.


It's my favorite cue of the entire score, easily.  It's weird and chilling in the best way, and I love how he develops Smaug's themes (one blunt and threatening, the other mysterious and suggestive of the character's intellect) throughout.

post #109 of 152

Yeah, the more insinuating "Dah-dah-DAAAAAAH" theme is such an effective counterpoint to the more outright monstrous six-note phrygian-interval theme, and extremely effective in building menace on its own (that early part where it's just slowly-but-surely climbing up the scale with the percussion in the background is brilliantly nerve-scraping composition). You could tell Shore's heart was really into composing music for Smaug. Best cue in the entire Hobbit trilogy, for my money.

post #110 of 152
Thread Starter 

I rewatched NEVER LET ME GO recently, and was again reminded that Rachel Portman's score is absolutely superb.  Just heartbreaking, soulful stuff...

 

 

The score is almost overwhelmingly evocative, and Portman's willingness to fully embrace emotion is one of the reasons she's one of my favorite underappreciated composers.  Her LEGEND OF BAGGER VANCE score is absolute gold, combining unabashed, optimistic Americana with a bittersweet - yet still uplifting - beauty...

 

 


Edited by Belloq87 - 6/18/17 at 8:38pm
post #111 of 152

I like her work for Their Finest, but there isn't a whole lot of it. The end credits music is just the movie-within-a-movie cues laid end to end. Extra credit, though, for arranging several of the inicidental songs and (I believe) actually performing on some of them.

post #112 of 152
I was fairly impressed with Alan Silvestri's score for VAN HELSING. There's a cool Spanish style guitar that adds a cool flourish every once in a while, usually for what I assume is Van Helsing's hero theme. It's worth a listen.
post #113 of 152
Thread Starter 
Quote:
Originally Posted by Judas Booth View Post

I was fairly impressed with Alan Silvestri's score for VAN HELSING. There's a cool Spanish style guitar that adds a cool flourish every once in a while, usually for what I assume is Van Helsing's hero theme. It's worth a listen.


The VAN HELSING score is great!  It's got a couple of really strong themes and an absolutely massive sound (some of the thematic statements are basically operatic on their grandiosity).  Silvestri earned his paycheck on this one for sure.  The guitar stuff is a cool element to help personify Van Helsing, and the central action motif is nicely swashbuckling, but my favorite theme in the score is the march-style melody Silvestri gives Dracula...

 

post #114 of 152

Bumping this, because I finally found my favorite bit of music from Inception on YouTube:

 

 

I definitely run hot and cold on Zimmer, but I think his Inception score is a lot of fun, and this track in particular provides perfect support to the standout scene of the film (everything at the hotel is just stupendously ridiculous and entertaining, but this is rightfully THE scene).

post #115 of 152
I used to hum that cue when I'd go running!
post #116 of 152
Thread Starter 
Quote:
Originally Posted by Dent6084 View Post
 

Bumping this, because I finally found my favorite bit of music from Inception on YouTube:

 

 

I definitely run hot and cold on Zimmer, but I think his Inception score is a lot of fun, and this track in particular provides perfect support to the standout scene of the film (everything at the hotel is just stupendously ridiculous and entertaining, but this is rightfully THE scene).


Listening to this again after just hearing the first (kind of uninspired) track from Zimmer's DUNKIRK score really hammers home what a fresh flavor Zimmer brought to INCEPTION.  It's really proven to be an influential score, and not just for Zimmer's own subsequent scores.

post #117 of 152
hmph!

Zimmer has been doing the chuggachuggawubwub thing since MI2!!!
post #118 of 152
Thread Starter 

Maybe.  INCEPTION is a vastly superior score to M:I-2, though.

post #119 of 152
HMPH!!!

built on the shoulders of GIANTS!!!
post #120 of 152

the best zimmer chuggawubwubwub is pirates 1, don't at me

post #121 of 152
that score wasn't credited to zimmer nor did it have chuggachuggawubwub!

(air horn)
post #122 of 152

And it's not even the best Pirates score!

post #123 of 152
post #124 of 152
Quote:
Originally Posted by Dent6084 View Post
 

And it's not even the best Pirates score!

 

yes it is

post #125 of 152

first rogue one

 

now THIS?

 

 

it's such a cheap sounding score!  because it was rushed when Silvestri's more 'conventional' score was dropped

 

the third score is best!

post #126 of 152

look man i haven't listened to the other five with great nuance although i will admit there's some lovely work in dead man's chest

 

but the first one is the most ICONIC to me

 

chuggachuggachuggawub

post #127 of 152

it established the themes that would go onto be more fleshed out with a richer sound in the sequels

 

but my initial reaction to the first movie's score was just how cheap it sounded and how it could easily be placed into any contemporary Bruckheimer action movie

 

 

 

chuggachuggawubwub!

 

 

 

 

hehehe I believe MI2's score is essentially Zimmer doing a garage band 

 

but the tracks for the section of the film in Seville are really lovely

 

 

better than anything in INCEPTION!

 

chuggachuggawubbawubbawubwub-GLOOOOOOOOOMMMMM

post #128 of 152

Zimmer's just so weird to me - he'll do these big, generic scores like you describe, but then turn around and do something like WOMAN IN GOLD and 12 YEARS A SLAVE, which are the opposite. 

 

The worst, though, is when he tries to balance his "orchestral" side with his "thundering electronic side," as in this (admittedly okay) theme for THE CROWN: 

 

I mean, it's fine. I guess. 

post #129 of 152

I like it when Zimmer takes breaks into THIS realm

 

 

 

a flavor that gets included in AMAZING SPIDER-MAN 2 for Electro!!!

 

 

 

I love the Amazing Spider-Man 2 score

post #130 of 152

Yes, his stuff for WOMAN IN GOLD, if I remember is in that vein: 

 

It's plinking. I love plinking. 

post #131 of 152

Also love his theme for the opening of THE CRITIC

 

 

 

 

and of course...

 

 

I love 90s zimmer!

post #132 of 152

Since this thread has the game music cheat mode activated I always feel a nod to The Witcher's bonkers Slavic folk rock is warranted.  May it carry over to any tv series they make.

 

A sampler

 

 

 

 

 

Truly music to accompany wooing ladies and assaulting people from horseback.  (It's a good thing I don't listen to it while riding.  Good thing I don't have a horse too, for that matter)


Edited by Muzman - 7/9/17 at 10:30am
post #133 of 152

If we're talking about video games, I own the scores for both Halo 2 and 3. They're great!

 

post #134 of 152

A few of my favorite recent ones I didn't see mentioned:

 

Johan Johannsson- Sicario and Arrival

 

Ryan Winford- The Battery

 

Trent Reznor & Atticus Ross- Patriot's Day and Before the Flood

 

Adam Wingard- Blair Witch 

post #135 of 152
Thread Starter 

Over the Fourth of July, I gave John Williams' THE PATRIOT its annual listen, and I think it's surely one of Williams' more under-appreciated efforts.  Two incredibly strong themes (the folksy-ish family theme is just beautiful, while the colonial one is thoroughly rousing), a handful of effective motifs, and excellent brass writing throughout.

 

 

John Williams in Americana mode is just wonderful stuff.

post #136 of 152
How crazy am I that I didn't know Williams scored that movie?

That may be why I liked it more then than I do now!
post #137 of 152
Thread Starter 

Williams was a fairly late addition to the movie, too, as he came in to replace David Arnold, who apparently had an absolutely catastrophic falling-out with Roland Emmerich and Dean Devlin during production.


Edited by Belloq87 - 7/9/17 at 2:31pm
post #138 of 152
Quote:
Originally Posted by Boone Daniels View Post
 

the best zimmer chuggawubwubwub is pirates 1, don't at me

 

Quote:

Originally Posted by mcnooj82 View Post

that score wasn't credited to zimmer nor did it have chuggachuggawubwub!

(air horn)
 

I own that soundtrack on CD. On the cover leaflet it says "composed by Klaus Badelt and OVERPRODUCED by Hans Zimmer".

post #139 of 152

Zimmer is Bruckheimer in this case!  The score isn't credited to him!!!

 

(though we all know it's all in his vein!)

post #140 of 152

That Patriot score is probably peak Williams Americana. It goes along with the theme to JOHN ADAMS as one of my favorite pieces evoking that "idea" of the Revolution. 

post #141 of 152

Peak for 21st century Williams anyway. His all-time has to be Superman.

 

post #142 of 152
Thread Starter 
Quote:
Originally Posted by Hammerhead View Post
 

Peak for 21st century Williams anyway. His all-time has to be Superman.

 


The Smallville/Kent Family theme might be my favorite of that entire score (which is really saying something, because all the themes are utterly fantastic).  So warm and touching.  The crescendo in this cue, particularly, gets me every time.  Those high strings on top of the stately brass...

post #143 of 152

Anything by John Morris, Henry Mancini, and Miklos Rozsa.

post #144 of 152

Morris hasn't composed professionally in this century, and the other two are dead.

post #145 of 152
Thread Starter 

Yeah, not really applicable to this thread.

 

But I'm a fan of all three!

post #146 of 152
Quote:
Originally Posted by Hammerhead View Post
 

Morris hasn't composed professionally in this century, and the other two are dead.

Oh, god. I'm giggling at how I somehow missed half the title of this thread.

 

um

 

I should probably leave this thread out of embarrassment.

post #147 of 152

Don't worry about it, we're good.

post #148 of 152
The Incredibles . . . hands down. It's one of the few movies I can put on just to listen to, and I consider it to be equal to and every bit the ear candy that William's more memorable score are. Being an odd/off meter player by nature, the insistence on a 5/4 meter throughout the movie just tickles me like no other. The exception being when Bob hacks the computer and gets caught, the music is a simple 4/4 rhythm that repeats and builds in intensity . . . there a straight forward meter enhances the 'dawning realization' of the scene, where using an odd meter even with the same overall feel would immediately suggest something off to a viewer. I think.
post #149 of 152

Whoever mentioned Daniel Pemberton's KING ARTHUR score in this thread was spot-on. He's really great. 

post #150 of 152
Thread Starter 
Quote:
Originally Posted by Boone Daniels View Post
 

Whoever mentioned Daniel Pemberton's KING ARTHUR score in this thread was spot-on. He's really great. 


Yes, he is.  I didn't love his KING ARTHUR score when I heard it in the film, but it's grown on me quite a bit.  Ever since MAN FROM U.N.C.L.E. and STEVE JOBS, he's been someone I've been excited to follow.

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