- This topic is empty.
- Posts
Henry Jackman’s score for X-Men: First Class was awesome. Magneto’s Theme in particular. That’s gonna be a tough one for Elfman to top.
We are so different in taste, it’s getting funny. That score was so lame and poorly written, my ears still hurt…
I thought it was awful, really poor. Worst X-Men score by far.
So far this year I’ve really liked La Ligne Droite, Priest and Thor.
In terms of X-men, nothing ever matched Kamen’s work for me. Powell did write a very energetic and powerful score with some great themes but Kamen explored really interesting territories, sometimes audacious ones.
Ottman’s work was decent but pretty bland and generic as always…My two cents…
Descent Into Mystery Wrote:
> Henry Jackman’s score for X-Men: First Class was
> awesome. Magneto’s Theme in particular. That’s
> gonna be a tough one for Elfman to top.Thanks man. I needed a good laugh.
Um.
…
No.
Anyway, I thought the First Class score was just so-so, but specifically Magneto’s thematic material really bugged me in the film. Didn’t think it worked well at all.
Wow.. So much hate here! I liked X-Men: First Class.. the score was really fun. It worked well for the film.
You’re all entitled to your opinions but try to lighten up geez!
…
Descent Into Mystery Wrote:
> I saw Super 8 last night. Great score by Michael
> Giacchino.I will agree with that. I saw it too, and quite enjoyed the themes for the military. As far as First Class is concerned, I don’t mind the score when it’s on it’s own, but I thought it worked terribly in the film; especially the “Frankenstein’s Monster” scene. It was too loud and blaring for a scene that would have worked better with hardly any score at all. That’s my opinion, take it or leave it.
Lucius
I thought Ottman’s X2: X-MEN UNITED score was really good at the time, but later… the more aware I became of the other scores he blatantly ripped off (Mancini’s LIFEFORCE in particular), the more I realized I was mistaken. I can’t even listen to it now.
The best score the series has had is John Powell’s X-MEN III: THE LAST STAND by a mile. No question about it. I like Michael Kamen’s score for the first movie, but like the film itself, it kind of felt a little awkward and the scale of it wasn’t quite what it should have been.
Harry Gregson-Williams’ WOLVERINE was crap, and apart from the first track of FIRST CLASS, I would say that Henry Jackman’s effort is too.
Also, I suspect they only hired Kamen for part 2 because of the K-Men = X-Men thing. I think there similar reasoning behind hiring Henry Jackman (because of the shared last name with Hugh Jackman) for this new one.
I actually like the final track on the album, but am growing weary of all these trailer-like cues where the world is ending, choir screeching, etc. I must be getting old.
I finally saw the movie tonight, and I’ll retract my “crap” rating on the score. I thought Jackman actually did a pretty good job once I heard it in the picture, and I was pleased that he brought back some of Kamen music from X-MEN 1 when the scene from the beginning of that same movie was replayed at the head of this one. Classy.
His theme for Magneto seems to share some similarities with John Ottman’s Magneto theme from X2, but it would take a person more musically inclined than me to say how, exactly!
I’m not sure but I think they just used Kamen’s cue from X1. Kamen was credited in the end credits for the cue “‘Death Camp’ From X-Men” or something like that.
…
“The Muppets” soundtrack is amazing. “Life’s a Happy Song” and “Man or Muppet” are locks for Oscar nominations.
Just saw “The Muppets” tonight and have to agree with you… if “Man or Muppet” doesn’t get nominated, it would be a shame. Here’s a song that is both emotional and funny at the same time – there’s nothing better! As for best score so far this year that I’ve heard… “War Horse” should get a nomination and not just because it’s Williams – It’s a damn fine score (better than “Tintin” when heard outside the film). “Super 8” by Giacchino was a good score I’ve listened to many times since it was released. Two dark horse scores would be The Chemical Brothers score for “Hanna” (works wonderful in the film – much like last years winner “Social Network”) & “Mildred Pierce” by Carter Burwell – a very lovely little chamber score with great woodwind passages. I’ve liked what I’ve heard from Howard Shores “Hugo” and I would have to say the superhero score I loved the most this year was Alan Silvestri’s “Captain America”. Now here’s a couple that won’t get nominated but in my world they would… first is my most favorite Patrick Doyle score of the year (and the others he’s done haven’t been that bad) “Jig” – I just can’t resist those Irish influences! The next score was just pure fun when I saw the film and now as I’ve listened to it away from the film… “Your Highness” went in not expecting much and was given a good fantasy romp of a score! I would like to say that despite the Elfman needle drop I enjoyed what Zimmer and company did for “Rango” – probably the best animated film score this year (and film, with Kung-Fu Panda 2 being close). Those are a few of my non-Elfman picks this year! Please be gentle.
Williams and Elfman have just swooped in at the end and shown everyone up as far as I’m concerned. Real Steel was everything that most blockbuster scores this year lacked.
The sad thing is that when it comes to music, the Oscars get lazy and usually only nominate those scores associated with the awards-friendly films. So, as far as nominations are concerned, I’m thinking John Williams for “War Horse”, Howard Shore for “Hugo”, and Harry Escot for “Shame”. As for the remaining two spots, I’m not sure yet. I’m still waiting for Trent Reznor’s score to “Girl with the Dragon Tattoo.” And, if I recall correctly, didn’t Hans Zimmer get nominated for Sherlock Holmes two years ago? So, who knows, maybe he’ll pull off another nomination.
- You must be logged in to reply to this topic.