> Predator: Killer of Killers (Benjamin Wallfisch) - Wallfisch has
> been busy this year, but this is the first score of his I'm feeling
> particularly excited for. Wonder if it'll be more like Schachner's Prey,
> Silvestri's original, or somewhere in between. Wait, why isn't Schachner
> schoring this? Film out this Friday the 6th.

Companion score to Alien: Romulus? I dunno. I wish I could be more excited about this but animation just doesn't thrill me. Wish the director had managed to pull McCreary back.

> 28 Years Later (Hildur Gudnadottir) - Zombies! Also, are John
> Murphy's previous scores for the franchise worth a listen?

I feel like I already know what this is going to sound like.

> Bride Hard (Ryan Shore) - Action comedy? It's from A Shore, that's
> something, right?

Ryan Shore has chops, as you will find when you do your 2007 listening.

> Ponyboi (Cristobal Tapia de Veer) - Thriller with a neon poster.
> Also reminds me I should check out White Lotus. June 27.

Is this a riff on The Outsiders?

> Jurassic World: Rebirth (Alexandre Desplat) - He can't get replaced
> in the next 30 days, right?? July 2.

Why does the movie look so bad? At least the score should be good.

> Superman (John Murphy/David Fleming) - I like Fleming, I'm
> ambivalent on Murphy. But we'll get the Williams theme back!

I have a bad feeling about this.

> Fantastic Four: First Steps (Michael Giacchino) - Will it be as
> good as Giacchino's first two Fantastic Four scores? Doubtful. But that's
> a pretty high bar, the theme is good, and I'm sure he'll deliver on the
> rest. July 25.

Giacchino doing 60s vibes should be fun.

> The Naked Gun (Joel McNeely) - Love Seth McFarlane or hate him, he
> at least gives Joel McNeely work. Both of these out August 1.

Speaking of McNeely, I finally saw I Know Who Killed Me! He wrote some fine music but boy was it not the movie for the film. The movie was inspired by de Palma/Lynch/Hitch and so they went for a McNeely score, but really what this movie was inspired by was giallo, if you can imagine Argento through an ugly digital lens, and I can't help but wonder how the movie might have worked with a Goblin- or Arnaud Rebotini-style score instead of the classic orchestral Hollywood thing.