By Brett Blake and Breanne Brennan In the second installment of our movie score watch, Brett and Breanne give their takes on a number of scores released in the past several months. BLADE RUNNER 2049 (Hans Zimmer and Benjamin Wallfisch) Brett: A massive disappointment. Following the legendary Vangelis score for the original film, we knew we were in for something heavily synthy for this sequel, and while Zimmer and Wallfisch deliver that in spades, the bulk of the score is almost unlistenable, a full-frontal sonic assault that bludgeons the listener with groaning and wailing electronics, dissonance, and - sure - a few token moments of simple harmonic atmosphere. Those atmospheric moments are the best parts of the score, as they remind us most heavily of Vangelis, but those moments aren’t enough to save the score. Zimmer should have been able to knock-out a cool Vangelis riff in his sleep, so I can only assume he and Wallfisch were mandated to take the score down this deeply unsatisfying road. Breanne: “Disappointment” seems to be the main descriptor for this score—especially from those who were hoping for a more distinct homage to Vangelis. Unfortunately, it falls flat in areas that aren’t reflective of the synthy 80s score, but in the glimmers of when it does, it’s only marginally satisfying. I personally don’t have an issue with the droning dissonance, as it adds an unsettling atmosphere to the score. Had Villenuve’s go-to composer Jóhann Jóhannsson stayed on to score the film, I almost feel we’d have something much more interesting. COCO (Michael Giacchino) Brett: Giacchino continues his working relationship with Pixar here, and the result is one of his most colorful and eclectic efforts… if also perhaps one that is not quite immediately satisfying. The instrumentation is the real star here, with Giacchino implementing a - clichéd, yes, but hugely effective and entertaining - Mexican flavor through the copious usage of acoustic guitar, ethnic percussion elements, and mariachi-esque strings and brass. Many passages sound almost unlike anything he’s ever composed, which (naturally) makes it feel really fresh. If there’s a criticism, it would be that the themes are not quite as memorable or earworm-y as can be found in many of his very best scores; the melodies are good enough to get the job done, but they’re of the sort that you have to hear many times and in many different settings to really get the full effect of them. Giacchino has had a very impressive 2017, with four major scores to his name; this is one of the bottom two. Even so, a solid effort. Breanne: One would’ve expected nothing less from a Giacchino Pixar score. As a listening experience, it’s as if you’re unwrapping a hefty present that has been wrapped in multiple layers. The score manages to evoke such elegant emotional flourishes, child-like whimsy in some of the more upbeat sections, and driving guitar themes with effective panache in each track you listen to. THE DARK TOWER (Tom Holkenborg AKA Junkie XL) Brett: A middle of the road blockbuster score… which is a positive development for Holkenborg! For the most part, the score is bog-standard actiony fare, complete with blaring brass, driving rhythms, and electronic elements, but the themes are what redeem the score; Holkenborg brings an unabashed heroism and sense of grand mystery to the simple melodies, and that ultimately works quite well. Breanne: Standard action-fare from Mr. XL that works okay, but what’s missing from this score is a much-needed distinctive theme. One might hope that an uninspired film adaptation of King’s novel might yield a decent score to elevate it, but the end result is rather sub-par for a composer who usually tries pushing the envelope. DUNKIRK (Hans Zimmer) Brett: A miscalculated effort on multiple fronts. For as much as he gets knocked for frequently coasting on autopilot, Zimmer also has a long history of exciting experimentation (see his previous Nolan score, INTERSTELLAR, which is one of his very best); his experimentation with DUNKIRK, however, mostly results in a harsh and frequently grating “sound design”-esque sort of score that, admittedly, does have a propulsive quality which is modestly effective in fits and starts, but for the most part is either pounding and overbearing, or bland, textural/atmospheric stuff. The most effective and emotional parts of the score are riffs on existing classical music, so Zimmer gets no points there, either! Breanne: Unlike my colleague, my views on this like-it-or-hate-it score err on the positive side. At first listen, I was immediately disappointed. I wanted a sweeping cinematic orchestral masterpiece reflective of Zimmer a la THE LAST SAMURAI or the PIRATES series. However, that need vanished upon seeing the film and hearing how perfectly it captured the desolation, hopelessness, and tension of the stranded army. The synthy effects seem like a copout for Zimmer, and the score on its own feels like nothing special. But paired with the film, the sound design-like score, in my opinion, is highly effective. GEOSTORM (Lorne Balfe) Brett: Hans Zimmer acolyte Balfe takes the reins and delivers…well, pretty much a dull Zimmer score. Oppressively reliant on electronics and samples, the score is just pounding, mind-numbing, chaotic nonsense, recycled from the well-worn pages of the Hans Zimmer blockbuster music playbook, and with a side-helping of lazy “emotion” shoved in for good measure. Breanne: Balfe treads in familiar territory with this unoriginal string and percussion-heavy action score. However, for a movie as chaotic as GEOSTORM, this frenetic and blaring score is pretty much successful in reflecting that. GOODBYE, CHRISTOPHER ROBBIN (Carter Burwell) Brett: Burwell has always been a reliable and unheralded composer, and 2017 finds him unusually prolific. This score shows him in playful, gentle, emotional mode, and the result is a satisfying and evocative effort. The music cuts right to the heart of the story’s themes revolving around the intersection of childhood and adulthood, and the score offers up a frequently wistful, bittersweet quality which makes for some striking musical passages. Breanne: Suitably tender and heartfelt with an emotional edge. This might be one of Burwell’s personal best this year. His blend of woodwinds, harp, flute and pared-down strings creates a blend of melancholy and innocent tones that almost seem to be at odds with each other—and appropriately so. IT (Benjamin Wallfisch) Brett: Another composer having a prolific year, Wallfisch’s music for IT is really a tale of two scores. The horror half of the score is a bit familiar, with mysterious strings, sudden orchestral blasts, spooky children singing, and other fairly obvious compositional tropes (well-executed though they are). The half of the score focusing on the kids and their bond, however, is absolutely terrific stuff, featuring delicate piano melodies, ethereal string/synth backing, and a general sense of warmth and humanity, which makes for a stark contrast with the overtly horror sections. Both halves of the score work like gangbusters in the movie, but as a standalone listen, the album is a bit much. Still, the score’s highlights contain some of the best moments of scoring in 2017. Breanne: On the whole, this score is relatively similar to Wallfisch’s other horror efforts from the past year (see A CURE FOR WELLNESS and ANNABELLE: CREATION), and it’s pretty much solidified him as today’s go-to horror composer. His “go-big-or-go-home” style is in full effect here, so unless you’re using this score to scare Trick-or-Treaters, I doubt you’d want to be blasting it while enjoying your afternoon cup of tea… JUSTICE LEAGUE (Danny Elfman) Brett: Danny Elfman takes over scoring duties from Hans Zimmer and Co. for the DC Cinematic Universe, and the result is an uneven - but ultimately quite entertaining - score. This finds Elfman back in full-throated action/heroism mode complete with brassy overtones and even statements of his own iconic Batman theme from the Tim Burton films. In a show of musical continuity, he also reprises a couple of the themes and motifs that Zimmer and crew established in MAN OF STEEL, BATMAN v SUPERMAN, and WONDER WOMAN. In terms of the new thematic content, Elfman’s theme for the Justice League is punchy and upbeat, though not quite “hummable” off the top of your head; beyond that, the real highlight of the score is the action material, which is some of the best Elfman has composed in years. And even if the score had nothing else to offer, it’s a treat to hear Elfman score the Batman character again. Breanne: What might be the best surprise of a score this year is the reemergence of Elfman’s original BATMAN theme music—and not to mention John Williams’ SUPERMAN theme. While it still falls into some of the trappings of bombastic superhero orchestrations (which I suppose are hard to divert from when composing for an action movie like this) it’s still worth a listen, and the bit of nostalgia it yields. MURDER ON THE ORIENT EXPRESS (Patrick Doyle) Brett: Patrick Doyle has always been an incredibly solid composer, and perhaps one that film score fans have taken for granted a bit. MURDER ON THE ORIENT EXPRESS should remind everyone what a talent he is, because this is a tremendous score, one which superbly highlights the glamour of period travel, the particular genius of Hercule Poirot, and the mysterious murder plot at the center of the story. The suspense cues are always engaging due to Doyle’s idiosyncratic sensibilities, but where the score excels (in a major way) is in its willingness to fully, unashamedly embrace emotion; some of the most stunningly beautiful score passages of 2017 year can be found in here, and Doyle has conjured up an all-time great theme to tug at the proverbial heartstrings. It’s a truly wonderful score that is among the very best Patrick Doyle has ever composed. Breanne: There is a lot going on in this score that I like. Doyle creates a—dare I say it—“listening journey” with various musical styles as we proceed through the score. There are Middle Eastern motifs, train-like travel themes, as well as other themes that highlight both the suspense and beauty of the story. One particularly effective theme is Poirot’s, which Doyle evokes distinctly with unique and beautiful piano instrumentations. THE SNOWMAN (Marco Beltrami) Brett: THE SNOWMAN finds Beltrami in very comfortable thriller/serial killer/horror territory, and the result is mostly what we’ve come to know from him in that genre, though he does attempt to evoke the Norse setting with some (very) quirky and unexpected - borderline experimental - instrumentation. His embrace of piano and flute, as well, is admirable and gives the score a softer side to compliment the very, very dark edges of the thriller-y side of the score. By all accounts the movie itself is a disastrous mess, but one wouldn’t know that from the music, which suggests an intriguing, upsetting, and unique tale being told. Breanne: This could have easily fallen into Reznor and Ross territory with more atmospheric and low-key instrumentation, but Beltrami instead goes for something much more unique and unsettling. His suspenseful blend of atmospheric strings, piano, and carillon bells makes for an evocative listen, and a prime example of a score being much better than the actual movie it accompanies. SUBURBICON (Alexandre Desplat) Brett: Total pastiche and relentlessly old-fashioned (and surely calibrated to be that way to underline the satire of the story), Desplat’s work here is warm and emotive in ways that would feel right at home in an Americana-ish drama that was being played straight, rather than the fairly dark and cynical film that SUBURBICON - by all accounts - is (which isn’t to say there aren’t darker or more suspenseful sections, because there are). Desplat in this sort of style is simply a joy to listen to, and the score is filled with engaging cues, though as a listening experience it bogs down a bit in its second half. Breanne: Desplat plays with a number of different themes here including some sugary 50s Americana, gentle and warm Copland-esque woodwind motifs, and dissonance for counterbalance. It’s a score like this that we hear the sort-of “anti-Desplat” emerge where he skirts his usual style, particularly with the dark sections. THOR: RAGNAROK (Mark Mothersbaugh) Brett: Frankly, a pretty incredible accomplishment for Mark Mothersbaugh. He deftly marries some retro, synthwave-y, electronic coolness with an absolutely massive and unabashedly sweeping orchestral backbone. What it may lack in intricate melodies (though there are certainly themes), it more than makes up for in scope and harmonic intensity, and Mothersbaugh even brings back thematic material from the previous THOR movies in a welcome display of continuity. Kudos to Mothersbaugh, because nothing in his CV would have indicated he was the right person to pull off a score on this scale, yet he did it in spectacular fashion. Breanne: Quite possibly one of the best action scores of the year. Mothersbaugh goes far afield for a Marvel score, which have often been trapped in regal heroic throw-away motifs that tend to get stale over time. Yet, given the lighter, humorous tone of the latest THOR installment, the choice to have Mothersbaugh tap into his techno/experimental roots was incredibly apropos. TULIP FEVER (Danny Elfman) Brett: The Danny Elfman Grab Bag. No new ground is broken here, though a new Elfman score is always welcome. One can hear repurposed ideas from any number of his previous scores popping up throughout (some more disguised than others), and the only truly noteworthy thing about this score is that Elfman has cherry-picked stuff from several of his different “eras,” which makes this a fascinating time capsule in a way; one can pick up on elements going all the way back to scores like SOMMERSBY and BLACK BEAUTY, up through his more stripped-down GOOD WILL HUNTING phase, and right on into his 2000s sound. A pleasant-enough score, though it may just make you wish you were listening to some of his higher-profile efforts from earlier in his career. Breanne: Again, nothing earth-shattering from Elfman, and it’s neither a good nor bad score. What it really feels like (and we’ve remarked on this before with other composers) is Elfman on autopilot. There is the potential for something much more evocative and emotional, but what we get is a somewhat sub-par retread of old themes. STAR WARS: THE LAST JEDI (John Williams) Brett: At age 85, John Williams contributes yet another very worthy score for the series, expanding upon his new slate of themes from THE FORCE AWAKENS in exciting ways while also never feeling like simple retread work. In some ways, this is the most “sequel”-y STAR WARS score he’s ever written, as it is more reliant on past themes than any of the other scores in the series. There is some new thematic material, certainly, including a major new theme for the character of Rose, but for the most part, Williams’ music for THE LAST JEDI is all about tying together existing motifs in a new package. This may disappoint some who were hoping for extensive new material, but the score works for the movie incredibly well, and it's a delight to hear him deftly play with all his themes on the album. Breanne: I’ve gone into recent STAR WARS scores (namely Eps. 1-3) expecting the same-old-same-old from Williams, however, with these last two installments, I’ve been rather satisfied. Rather than the sound of a mash of brass and string orchestrations, Williams keeps his recognizable themes in check. He revives the “Luke and Leia” theme with great effect here, and it also gives the score a nice bit of emotional nostalgia. THE SHAPE OF WATER (Alexandre Desplat) Brett: Characteristically evocative, even dreamlike, Desplat's SHAPE OF WATER score offers moments of striking lyricism, quirky orchestration (accordions and even whistling make appearances), and emotional delicacy. Desplat balances a just-slightly-off-kilter quality with an ethereal edge which works quite well. Thematically, some will be more impressed with the melodies than others, but for these ears, it's really more about how Desplat builds the soundscapes around the thematic material than the thematic material itself. Breanne: It’s trademark Desplat poetry found in previous scores like BENJAMIN BUTTON and LUST, CAUTION, but still a good thing. He creates a dreamy and suspenseful score with wavery whistling, punctuated by a romantic little accordion and fluttery flute that feels reflective of the film’s gilled subject and time period. But what Desplat seems to have effortlessly achieved here is giving life to water in his melodies. Whether it’s the ebb and flow of waves or floating underwater, these feelings can be experienced in a number of themes of this tender score.
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By Brett Blake Some fans are going to have real problems with some things in THE LAST JEDI. That is simply unavoidable when you hire a sharp, creative writer/director like Rian Johnson to come in and give us his version of a STAR WARS movie. What he delivers is big, glossy, and packed with tremendous moments, some of which rank among the very best of the series... but the final result is not without flaws and controversial elements. Probably more than with any other series, STAR WARS fans are more likely than not to be averse to spoilers. As such, it’s bit difficult to even get into what THE LAST JEDI is really about. That said, let’s start with what the official synopsis - direct from the studio - has to say: Having taken her first steps into the Jedi world, Rey (Daisy Ridley) joins Luke Skywalker (Mark Hamill) on an adventure with Leia (Carrie Fisher), Finn (John Boyega) and Poe (Oscar Isaac) that unlocks mysteries of the Force and secrets of the past. Pretty vague, generic stuff. Moving ever so carefully beyond that, it can be said that Rey spends some time with a somewhat jaded Luke Skywalker, while Finn - and a new character named Rose (Kelly Marie Tran) - embarks on a desperate mission to aid the fledgling Resistance in the fight against the evil First Order, led by the devious, mangled Supreme Leader Snoke (Andy Serkis) and his tortured, conflicted acolyte, Kylo Ren (Adam Driver), who was once Luke’s protege before falling to the Dark Side. After THE FORCE AWAKENS was (fairly but overzealously) criticized for following the same basic story beats as the original 1977 film, there was some concern leading up to THE LAST JEDI that it would similarly pattern itself after THE EMPIRE STRIKES BACK. So, does it? Only sort of. If a person goes into the movie scrutinizing it in hopes of finding similarities, that person will find similarities; however, where this story ultimately ends up is very different from EMPIRE. Unconventional choices are made and (more or less) work within the confines of the story being told. Rian Johnson manages to thread the needle between delivering something that feels completely like STAR WARS, and also pushing boundaries a bit and advancing the scope and mythology of the universe in rich and interesting ways. He also manages to weave a narrative full of unexpected developments; as a character says at one point, “This is not going to go the way you think,” and that’s not a totally inaccurate summation of the movie’s story. Being the second chapter of a trilogy (as in the second entry in a designed three-picture arc, not merely a sequel) is usually an unenviable position, because it represents the middle chunk of a larger story and therefore can’t truly feel like an independent and complete experience. To be sure, there have been many fantastic second chapters in film (THE EMPIRE STRIKES BACK, obviously, but also BACK TO THE FUTURE PART II, THE TWO TOWERS, and THE DARK KNIGHT come to mind), but generally they are hard to craft as satisfying experiences on their own, disconnected from the larger story. They might function as a great second act when taken as part of a larger whole, sure, but the really hard part is making them feel distinct. THE LAST JEDI, by virtue of writer/director Johnson’s choices, feels complete, even as it builds on the groundwork from the previous movie. This is not a trilogy simply marking time on the way to its third installment. The scope of the narrative arc here is absolutely dramatic, and unexpected in the way it resolves its various plot threads. Where THE LAST JEDI really distinguishes itself is in its emotional resonance. Johnson, who proved with his earlier films to be adept at character work, crafts an incredibly confident yarn with the most emotional maturity and complexity of any STAR WARS film so far. Ultimately, the things the characters are dealing with are adult concerns, and while the movie is often a blast - energetic and fun and exciting - there are serious undercurrents at play; the themes of loss, failure, searching for belonging, and duty to causes higher than oneself get a full examination through Johnson’s very incisive, focused writing. There are some devastating, surprising moments here (big and small), but none of them feel like gimmicks, cooked up only for shock value; rather, they inform the characters’ journeys, and are used by Johnson to spin what is ultimately a compelling tale. And it has to be said... some of these moments won’t sit well with everybody, even if they serve the story Johnson’s trying to tell (more on that below). Among the cast members, there is not a weak link to be found. Daisy Ridley navigates some challenging emotional material with grace and ease, and the story this time has Rey perhaps at her most vulnerable, a girl looking for somebody to connect with and show her a path forward. Mark Hamill - who shares the bulk of his screentime with her - delivers what may be his finest live action performance ever. He manages to find the balance of showcasing this new Luke Skywalker (a man who, basically, is a little bitter and cynical when the story begins) while still finding some lovely, warm moments to remind us of the optimistic young man who was the hero of the original films. John Boyega and Oscar Isaac turn in a pair of charming, “old pro”-style heroic performances, and they make a lot out of not particularly much on the page. Of the trio of major newcomers - Kelly Marie Tran, Laura Dern, and Benicio Del Toro - Tran shines the brightest, investing her character Rose with an incredibly earnest and likable energy. On the villainous side, we have the returning Domhnall Gleeson delightfully chewing some major scenery here as General Hux, and Andy Serkis turning a nothing of a character from THE FORCE AWAKENS - Snoke - into a substantially more interesting, cunning, and threatening presence. But really, as was the case with THE FORCE AWAKENS, the unequivocal standout character is Adam Driver’s Kylo Ren. THE LAST JEDI finds Ren even even more complicated than before, and Driver leans hard into that, finding more wrinkles and nuanced angles that make the character’s desperate - and profoundly insecure - desire to be evil and powerful somehow sympathetic and utterly human. In terms of the all-important music, John Williams contributes yet another very worthy score for the series, expanding upon his new slate of themes from THE FORCE AWAKENS in exciting ways while also never feeling like simple retread work. In some ways, this is the most “sequel”-y STAR WARS score he’s ever written, as it is more reliant on past themes than any of the other scores in the series. There is some new thematic material, certainly, including a major new theme for Rose, but for the most part, Williams’ music for THE LAST JEDI is all about tying together existing motifs in a new package. This may disappoint some who were hoping for extensive new material, but the score works for the movie incredibly well. Naturally, it’s one of the best of the year. Now, by no means is THE LAST JEDI perfect, nor is it “THE BEST STAR WARS MOVIE EVER!!” as some more hyperbolic reactions would claim. It’s difficult to really dissect the film’s (relatively few, but not insignificant) shortcomings while also remaining spoiler-free, so we’ll tread lightly here: ultimately the most consequential missteps come as a result of Johnson packing this story to the gills with characters - returning and new - and not really finding a way to satisfyingly service all of them. There is one substantial subplot here that never really comes together like it should, and it ultimately feels like Johnson trying too hard to make sure particular characters get enough stuff to do. Under normal circumstances, this is a section of the story that would have been streamlined or dropped altogether, but to do that here would have meant drastically reducing the screentime of a major character, and that’s just not something that was going to happen. Also, tonally, there are absolutely moments (humorous and otherwise) that do not work, either because they simply don’t land, or because they strain the level of suspension of disbelief that STAR WARS movies normally require of the audience. While THE LAST JEDI overall certainly feels like a STAR WARS movie should feel, there are a few moments of incongruity that are obvious. These flaws, however, are symptomatic of Rian Johnson making big, gutsy choices in an attempt to deliver a massive STAR WARS spectacle. He boldly swings for the proverbial fences here, and even when certain elements don’t fully connect, his desire to broaden the scope of the series - tonally, narratively, and mythologically - is admirable and worthy of praise. And it is certainly worth saying right here, in the interest of full disclosure, that I don’t love all the big, gusty choices Johnson makes in this film. Some left me cold, others actively bothered me, but at the end of the day, that’s okay! There is a lot that’s great in this movie, and even the stuff that isn’t, or is more controversial, is worth respecting as a part of an experiment made in good faith and with good intentions. STAR WARS: THE LAST JEDI is still absolutely a thrilling time at the movies, and it is Johnson’s more mature thematic sensibilities which set it apart and make it feel like the most idiosyncratic and distinct entry in the series since THE EMPIRE STRIKES BACK. |
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