> Reminiscence (2021) - ***½
A solid score, but admittedly I don't remember much about it. It's a lovely noir atmosphere, really capturing the mystery and haze of the premise. Your rating is probably about right, but in a good mood I'd probably bump it up to a low four stars. But then again, slightly overlong album, so maybe that rating's about right. Again, always interesting to hear how COVID-19 brought challenges to scoring.
> Eternals (2021) - ****
Man, this one came and went without leaving much of an impression. I know it came out, but I never heard my MCU-obsessed friend talk about it! Djawadi's music left a pleasant impression, but I can't remember a note. Definitely shows Djawadi's maturation as a composer, given the different styles on display. That I didn't come away humming anything like Driving With the Top down is neither here nor there, but it is funny! (In that a generally-considered-to-be-poor score left me with an earworm, whereas this better score didn't.)
> Infinite (2021) - **½
Not heard, but I'll probably enjoy it when I do. HGW thrillers gets an extra half-star graded on a curve for me 
> The Last Duel (2021) - ****½
Oh this is a brilliant score. I put it on and was immediately transported to a setting centuries ago. It nails the anxious, mysterious tone of the film (which I still need to see), and it's in the same sonic universe as Kingdom of Heaven while having surprisingly few direct comparisons with it. Perfect music for reading history on a rainy day. HGW desperately needs more medieval scores.
> Encanto (2021) - ****½
Brilliant film, even if 'viral on TikTok' is a phrase that makes my skin crawl! Despite having no possible avenue to relate with the film (okay, 'Waiting on a Miracle' resonated on some level), I adored this movie, and consider it to be among Disney's best. Certainly its songs are some of Disney's best, and despite no song/score connections, you hit it on the head about them sharing sonic connective tissue. Goes to show that involving the composer on some level makes for a stronger song/score package. Franco hit it out of the park with her spirited, energetic score, full stop.
> “Do you want me to do it? I'm even less Colombian than you
> are.'
This quote made me howl with laughter when I read it. Bless his British sense of humor! Side note, I find interesting his statement that she'd been working with him too long. I think it shows his ethos of pushing assistants up the composition ladder, as that article from December 2021 said.
Also, Christ, Zoom recording must have been a nightmare. I only used it sparingly, so I can scarcely imagine the headache of recording with it.
> As of this writing, Encanto has yet to lead to any major follow-up
> assignments for its composer. It would be a shame if that continues to be
> the case. Germaine Franco is a major talent who should be scoring major
> films. Full stop.
I dread we have another Pinar Toprak/Captain Marvel situation, where a female composer blasts onto the scene with a high-quality score (for a Disney movie, no less) and then proceeds to not get a glut of assignments, despite the evident talent and skill. Please, please, please, let Franco get more work, and something that lets her show off those melodic skills!
> -----------------------
> Next time: “Normally with soundtracks, we get a lot of generic ‘aahs’
> and ‘oohs’. The vocals [here] aren’t random. They’re supporting the
> storyline of the scene, like an opera.”
...Don't Worry Darling? (Which as a rabid Powell fan, I am shamed to admit I still haven't heard.)
Have a good Easter!
