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  • #38100
    ddddeeee
    Participant

    1. Alice in Wonderland
    2. The Unknown Known
    3. The Wolfman
    4. Real Steel
    5. Fifty Shades of Grey (Pretty sure I like this one more than anyone, I’m kind of obsessed with it?)

    #59003

    1. The Wolfman (2010) – Assuming it counts, considering the movie’s release date was delayed a million times.
    2. Mr. Peabody and Sherman (2014)
    3. Oz the Great and Powerful (2013)
    4. Epic (2013)
    5. The Unknown Known (2013)

    #58753
    sajrocks
    Participant

    1. Unknown Known (2013) – The awkward, maybe slightly special needs cousin to Standard Operating Procedure—one of my top Elfman scores of all time—is just beyond. Heart, quirk, sadness, malevolence—all pretty much following the incomprehensible blatherings of a man sitting in a chair. And Elfman doing minimalism is always a pleasure. Of course Philip Glass set the bar (installed the glass ceiling?) when it comes to documentary scoring, but Elfman has twice now proved he can not only work in that milieu, but can comprehensively make it his own.

    2. Dark Shadows (2012) – I’m agog every time I listen to the uncut Prologue music—such craftsmanship, audacity, richness and density! Plus the 70s/synthesizer sound experiments, bass flutes galore, and tingles still ripple over my body when those growling electronic glissandi tear through the Shadows theme.

    3. Fifty Shades of Grey (2015) – Totally riveted by this score—pure iconoclasm of the genre and sort of a mashup of elements I love from Unknown Known and Red Dragon.

    4. Alice in Wonderland (2010) – You had me at “Alice!” The extended score from the box set really brings this one to life.

    5. Avengers: Age of Ultron (2015) – Maybe not a proper choice with such full-bodied, fully realized and incredibly accomplished scores as Epic, Oz, Peabody, Wolfman (love that Wolf Suite!) and Real Steel, but I’m going on the utter listenability of a number of tracks—how clean and crisp the action cues are yet containing a healthy dose of invention, the emotional complexity of Ultron-Twins, and, let’s not forget, a solid, stirring heroic theme the likes of which we haven’t really heard on this level in decades. Though Elfman reverently and expertly seeded in bits of Silvestri’s theme and style from the first film, he still came up with something timeless of his own (more timeless than Silvestri’s I feel, which sounds a little 90s shrug-of-the-shoulder to me.) I think the world has moved on from this style of theme, but it’s awesome to know Elfman can still crank one out in a rush when he must.

    Bonus: IRIS (2011) – Though not a film score, this would be at the top of the list of “Tops” from 2010-2015. It’s such an expansive, imaginative tapestry, and a complete encapsulation of Elfman’s musical being.

    #58674
    Thor
    Participant

    My picks (only feature film scores):

    1. THE UNKNOWN KNOWN
    2. Alice in Wonderland
    3. Promised Land
    4. The Next Three Days
    5. Dark Shadows

    I’ve mostly grown weary of Elfman in action/superhero/blockbuster mode. I prefer it when he goes indiepop or ambient or minimalist.

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