@@richardjacksmith6070 To be fair there are some great cues by Newman that he did better than Goldsmith. My favorite example is “The Executioner” (which plays when Sergei blows up the door causing an explosive decompression and the destruction of the tanker plane), because I wasn’t a big fan of Goldsmith’s cue, so this track could have been used. (My favorite part is the tanker explosion, because of how he created that suspense). I believe that some of Newman’s action cues were score for the “nightmare situation” moments
Thank you. I'll remember that. Also, I mispronounced Alexandre Desplat's name for a while. Thought Desplat was pronounced "day-pla" but it's "dess-plat." Lol. Always happy for this kind of feedback.
When it was announced that Wallfisch was going to do the music for the film, I was both excited and curious to hear what he’d bring to the table. I’ve been a fan of his work for quite a long time now. Needless to say, I was not disappointed! The musical score is both a love letter to the fans of the Alien film series and to the fans of the composer’s work. It bridges themes that is both familiar and new. The music is bold and cinematic. Half of it is quite elegant, hopeful, grand and hauntingly atmospheric. It knows when to bring out the warmth melodies of the orchestrations and relax the listener in a meaningful way while bringing this sense of uneasiness. Reminds me alot of IT and The Flash. The other half of the score is rather eerie, suspenseful and downright chilling. It includes all of my favorite elements within this style of the genre including: frenzied string figures, chaotic brass sections, ominous electronics and impactful, heavy percussions. Said electronics sound very angry and pissed off, similar to The Invisible Man. It’s very distorted and very intense. One track had this very wicked heartbeat-esque sounding electronic beat. Similar to the Med Bey sequence from Alien: Covenant by Jed Kurzel. Another track meanwhile had this really odd sense of experimentation with a buildup of out of turned strings and dissonant electronics. It sounded very discordant and slightly wacky. The choirs here plays a rather surprisingly bigger role this time around. They have their sense of creepiness or uneasiness as well as sounding very epic, bombastic and dramatic. I also really appreciated the easter eggs of the works of Goldsmith, Horner and Goldenthal as well as hints of Streitenfeld and Gregson-Williams too. It’s subtle and not overused. I’ve heard the score quite a few times at this point and I’m never bored. Looking forward to hearing what Wallfisch is going to do with the upcoming Kraven the Hunter next!
Think you meant to write "Needless to say, I wasn't disappointed" as the rest of your comment was very positive. Thank you for sharing your impressions of the score. Oh boy! I've unintentionally stumbled across some spoilers for the film. I don't go to the cinema anymore, so I wouldn't have seen the film yet. I am extremely let down by the things they have done and chosen to include. No spoilers here of course. Guess this is a case of love the score, dislike the film or the ideas at least. Similar thing happened with Alien 3. I won't make that mistake again.
@@richardjacksmith6070 yes, apologies for the mistake in the typos. I love the score very much! Heard it quite a few times. And this is why I avoid watching trailers and tv spots of any kind. You’ll be doing yourself a huge favor if you do the same. But I think you should still see the film anyway. See it and judge it for yourself. Don’t trust other people. Only you can make your own conclusions if you liked the film or not. At least see the film to understand the full context of the musical score.
I love this, too. It's total nonsense, but brilliant because of it. Can't help feeling Tarantino learnt from this. How to make magical nonsense rather sublime. Not an easy act to pull off.
Hi Jack, do you direct? As in my first music video? This is not your ordinary message, I know, and I do not know how to tell you the correct version of what I want to write. But I maybe can start with that I never asked anyone this question before.
"Get Loose" A Believer in a God of Love Said in a war The Devil is responsible Then he raised his gun Forgot about his God, And he, Nobody else Decided to pull Yeah ,....... For a man in a war, There's only one thing to-do (double beat on the bass-drum there) Fight to make peace, Are you a complete fool. "Bang", where did it go Don't you need to know Well take a closer look, He was a boy like you ...... Your hands are tied, your body is tied, your mind is tied, by some foolish lies ..... Get loose Turn your hands move your body Get out of your mind, Get way out of line The sooner, the better And hear what I say You are what you are and that is ok Get loose Turn your hands move your body Get out of your mind, Get way out of line With the truth to be seen, we all gonna rise, no more lies, it's time to grow wise .... Yeah- heey....
Hi Alfred. Thank you for your comment. I make what you see on RU-vid. Reviews about books, movies and soundtracks. I do everything myself using the most basic tools i.e. natural light or a lamp if it's night. I edit and do the sound. Again, I keep things simple. I have done music related videos. Mostly for my father. He wrote songs. Feel free to check out some of my videos. I recommend Midway and Ballad of a Man Called Horse. All the best!
I know it's not officially released (the soundtrack) but have you seen The Punisher video game Wynn co-composed with Christopher Lennertz? I love the themes and action music in that game.
@@richardjacksmith6070 also, a little off-topic but tangentially related to XCOM 1's score. You should check out the 2 newer Deus Ex scores for Mankind Divided and Human Revolution. They're excellent imo.
Film music is a bastard art, but it can be honest bastard art, as evidently is the case with this soundtrack. But the art of reviewing film music, that's bastard squared. Only in this ridiculous, non-existent métier do people grade """emotion""" as if it weren't the most subjective of all things possible. I couldn't be less interested in how much """emotion""" you felt, since it never translates to how much I feel. It's fair to discuss anything else about the music, but most people don't know how, and this video is an example. Our reviewer here is impressed with the choirs in this soundtrack, making obvious that he doesn't know how the sausages are made. The choirs are off-the-shelf "epic" sound libraries, with lyrics that make no sense, since one can clearly hear the word "dominus" in the first episode, which evidently is in Latin, not in Ancient Greek. The choirs here are the least interesting part and, honestly, the part that sort of cheapens the whole thing. Maybe I am bastard to the cube (bastard³), for criticizing a "poor" critic (bastard²) of film music (the bastard art) - but at least I know how sausages are made, and I know what he says here is nonsense.
I once worked with a guy who lived two doors away from George in Burden Way Cregagh. I asked him if Bestie showed signs of talent when a young boy. He told me that all the kids 10-15 played a twenty a side game on a local green. At 10 years old George could dribble around them all and then some. Eventually the lads got tired of him and kicked him for not passing the ball. He was effortless with the ball at his feet.
light dusre right brain matlab me mara aur usd inr Kenai he bitcoin me se...aage vohi kalki sena no 1 ahmedabad ka target he.april 2024 se 2047 future me dekhte he dusre group ki kalki sena ne kya vayda likhvaya he....😊
I loved this score. It reminds me of the blockbuster scores from 20 or 30 years ago, before the style of Hanz Zimmer started being replicated by 90% of Hollywood composers. Great composition and amazing orchestration. Laura Karpman even dares to use some dissonance and atonality. "The Marvels" theme became one of my favourite superhero themes and is stuck in my head. It's a shame the disproportionate hate for the film is affecting the perception of it's soundtrack. I hope Marvel continues to work with Karpman in future films, because I really want to hear more music from her.
