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Comments about the soundtrack for The Amazing Spider-Man 2 (Hans Zimmer/Various)

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Re: That review is poor.
• Posted by: JFC   <Send E-Mail>
• Date: Monday, May 12, 2014, at 7:10 a.m.
• IP Address: 206.176.116.26
• In Response to: That review is poor. (Edmund Meinerts)

> I'm really sorry to side with the trolls and all, but I don't think you
> gave Zimmer a fair shot in that review. No, the score isn't subtle. Guess
> what? Neither is a dude who swings around on a web and fights another
> dude with electricity bolts coming out of his arms!!!

> This is the first superhero score I can think of in a long while
> that has clear, readily identifiable themes for both hero and villain.
> They might not be orchestrally complex in the way you seem to demand, but
> they are obvious and identifiable. Is Spidey's theme underutilized?
> Perhaps, but you don't even mention the cue in which it's given the most
> forthright statements, "Cold War"! You can't just gloss over the
> parts of the score that don't back up your arguments!

> Putting this score below the complete trash that was Captain America:
> The Winter Soldier
and 300: Rise of an Empire is way, way off
> the mark. These days you seem to be more harsh on Zimmer himself than the
> composers who try and ape him, and that's completely the wrong way around.
> You seem to punish Zimmer for having an identifiable style, but you go
> easy on the composers who ape him because, hell, the industry demands it,
> right? If you applied the same standards to, say, Williams as you did to
> Zimmer ("The Book Thief is simply a rehash of the same
> melancholic piano drama heard in scores like Angela's Ashes, Presumed
> Innocent
and other Williams drama scores of the 1990s.
> *"), you'd be a laughingstock.

> Look, I get that the site isn't doing well and you need to drum up some
> traffic. But don't do that by generating cheap controversy.

> Man, I haven't felt this way about a Zimmer review of yours since
> Pirates of the Caribbean: At World's End.

Though I cannot speak for the reviewer I can speak for myself and say that I think that the reason for the Zimmer hate is the fact that the man's "identifiable style" seems to have shattered the industry completely. The film scoring industry, in my opinion, has lost much of it's finesse and yeah, complexity. Does a score have to be orchestrally complex? Yes. Especially if you have six plus other people working with you. As a four year composition student I can write more orchestrally complex, two hour pieces of crap than a dozen of the Zimmer clones. I think that anyone can just fart out a theme, slap it on the french horns and trombones, scratch out some repeating figures in the low strings and call it good. The only Zimmer clone that I have any respect for is John Powell and he doesn't even write for film anymore. The man seems to be fed up with Hollywood and the way the industry is. But why is it this way? Zimmer. And so Powell turns to concert composing, a far less commercially stable business but a far more rewarding one as there are no directors screaming down your ear "I WANTED FREAKING ZIMMER. WHY AREN'T YOU HANS ZIMMER? MAKE MY MOVIE SOUND LIKE BATMAN! SOUND LIKE ZIMMER! BWAAAAAAAAM! BWAAAAAAAM! James Horner isn't scoring anymore. What's with that? He doesn't like scoring for Hollywood. Why? I don't know, Horner is weird like that but I bet it has something to do with ZIMMER. Every time I hear his name is assigned to a film I get physically Ill. Every time I actually hear the score, same thing. I hate Zimmer because he killed the sound that has so often brought me so much joy. He killed the industry that I was so looking forward to working in but now I want nothing to do with. I hate Zimmer because now, to the general public, he is all that film scoring is. That fake orchestral sound that is, by the way, killing the orchestra. That simplistic rock influenced bull crap that a first year piano student could play perfectly simply sight reading. No more Williams, no more Horner, no more Powell. No, no, no, It's all just ZIMMER. Zimmer this, Zimmer, that, I am tired of Zimmer. I know I'm just fueling the fire but I am tired of the debates. I'm tired of the Zimmer fan boys who don't seem to know the first thing about music. I'm tired of Clemmenson posting Zimmer reviews before he reviews the good scores (Like Rio 2. Where is my Rio 2?) I am tired of film scores. The only film scores that come out nowadays are ZIMMER clones anyway so what's the point? Good orchestral music IS DEAD. A conerstone of music that has stood for 500 years is dead. Symphony orchestras are going bankrupt, popular music is getting more and more simplistic and idiotic. And guess what? I never thought I would say this; SO ARE THE FILM SCORES! Yes this review is poor, but so is the music.




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