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|Re: I would agree that POTC 2 is lazy, however....|
| Posted by Southall |
Date: Wednesday, July 19, 2006, at 9:17 a.m.
IP Address: webcacheb06a.cache.pol.co.uk
In Response to: I would agree that POTC 2 is lazy, however.... (Doug C.)
> Da Vinci Code is the best score I have heard in several years. In fact,
> the score rises above the film. Just listen to the beauty of track 9. Much
> of it is unlike anything I have ever heard from Zimmer.
I think Da Vinci Code is Zimmer's strongest work since Thin Red Line. It's still a bit of a hodge-podge of old scores though (particularly Hannibal), but I don't really care in this case because the final results serve the film OK, and make a good album.
> POTC 2, both the film and score, are mindless and lazy popcorn
> entertainment. I don't think Zimmer would argue with this statement. The
> film did not deserve any better than what Zimmer gave it, as the film was
> entirely derivative itself. Bruckheimer likes a certain sound and demands
That's true... and that's what I don't like. The Greatest Story Ever Told was mindless and lazy popcorn entertainment... but listen to THAT score and tell me is't mindless and lazy.
> I think you can't bash Zimmer, when he does some truly unique stuff for
> films that deserve it. For instance, Matchstick Men was not a popcorn
> film, so Zimmer decided to summon a little Nino Roto. And you have to give
> credit to Zimmer for truly elevating The Ring from being a standard horror
> score. When was the last time a composer put so much complexity into a
> HORROR FILM! Even Jerry Goldsmith's cherished score to The Omen was not
> even as complex. (A score which I admittedly dislike.)
Wow... Your first two sentences are spot-on... but after that... well, all I can say is "wow." The Ring is NOT complex music. It's incredibly, almost unbelievably, simplistic music. I think it works pretty well... but it's been done a thousand times elsewhere, surely. Frequently, better.
> People who give Zimmer a hard time really either have short term memory,
> or do not look at his entire body of work. Hell, people still bring up the
> Peacemaker as if thats the only thing he has ever done. Yes he does
> "copy" himself, but only when it is appropriate.
I've got a large number of Zimmer albums, I've followed him for over a decade, and I don't have a short term memory. I give him a hard time because what he's doing is pushing the whole art of film music down into the gutter. In this junk popcorn music he writes, he's proving that films really don't need original scores, that music really isn't an important part of the dramatic needs of a film, that film music is just accompaniment, not improvement. For sure, he pulls some brilliant things out of the air sometimes, like The Thin Red Line or The Lion King, and I give him very much credit for that - but the bad aspects are SO bad.
> You can't tell me that the Horners, Williams, Elfmans, and Newmans of the
> world don't consistently make scores that sound similiar.
They do... and there's no problem with that. But they don't enforce the same score onto a film regardless of the unique needs of that film. Surely there's a big difference between, say, bits of Mars Attacks sounding like bits of Men In Black, than there is between bits of King Arthur sounding like bits of The Peacemaker.
Like I said in my review, I don't blame Zimmer for it - he's doing what he does, and it seems to be what Hollywood wants at the moment. But I still hate the direction it's taking film music in. Hopefully, someday it will recover - these things go in cycles - but there's been a sustained period, now, of the big summer blockbusters getting junk music which makes no attempt to do anything other than be there - a period unique in film music history, I think.
I must end by saying all the above is just my opinion, and I know there are very many people who love modern film music - and yet again, I must admit that however much I hate what it's led to, I enjoy most Zimmer albums a great deal.
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