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 There are 467 Reviews Done 

47 pages: 1 2 3 ... 45 46 47 

Carl Davis - Ben-Hur (1925)
Score for a Silent Movie!
By: Dragonel
Date: 12 Apr 2017

Note that composer Carl Davis was born over 10 years after the silent film "Ben Hur" was released in 1925. But in 1987 he produced a score for it, which is the music available here.

Miklos Rozsa - Miklos Rozsa At M-G-M
Miklos Rozsa At M-G-M
By: ZeframCochrane
Date: 12 Apr 2017

This collection is the place to start in learning about Hollywood's Golden Age in music. Rózsa's music represents that perfect representation of the movies.Most of this collection has never been released before.The first two (Madame Bovary and Ivanhoe) are in mono and all the others are in early stereo.This CD is an excellent way to introduce someone to Rozsa who was unfamiliar with his work.

“I walked long afternoons in the Forum Romanum on the Capitoline and Palatine Hills, imagining the old splendor of the buildings which are in ruins now, and the excitement of the multitude in flowing togas in the Circus Maximus where I wrote the music for the Circus and Victory parades.”
(On his inspiration for Ben-Hur)

Miklós Rózsa

Klaus Badelt - Time Machine, The
Possibly one of the best scores I have ever heard.
By: Morg
Date: 19 Mar 2017

I have been around here for a long time. Over the years, I have heard and learned about some really great composers, conductors, and artists. I have used this site as a way for me to discover new movies and games that I may not have otherwise heard of.

The Time Machine is one of the most iconic H.G. Wells stories of all time. The original 1960 movie was way ahead of it's time. Fast forward 42 years to the year 2002, and we find the remake of this phenomenal story.

The 2002 versions musical score is one of my all time personal favorites, especially the first track, Professor Alexander Hartdegen. The use of various instruments, especially the use of the piano, makes music to my ears.

If you ever need an album to listen to just to be able to escape for a short while, I would highly recommend this album.

Jeff Russo - Legion (2017)
Moody music fitting a great TV show
By: Jadedtitan
Date: 9 Mar 2017

A show about David Haller, Legion, needs music as weird, complex and perhaps even a little hard to understand, as the character its trying to portray. The music of Legion is a mix of weird electronic musings and introspective orchestrations that fit the mood of the show very well. It has a twist of disconcerting strings for the Clockworks hospital period of David’s story and melodic remembrances for young David flashbacks. The soundtrack highlights the main theme for David with David Redux and also in the last half of 174 hours. Levitate and Tea and Memory are both lovely orchestrated tracks with Choir and Crickets making you feel as if you are outside listening to the voices in your own head. While some of the tracks are certainly harder to listen to, the score does a nice job capturing the weird essence of the show and David’s journey in finding himself.

1 of 1 found this review helpful

Radwimps - Your Name
A Labor of Love
By: ladylark
Date: 1 Mar 2017

This soundtrack was a labor of love by the Radwimps and it shows. For those who don't know, Radwimps is a Japanese Rock Band. They're known for their hard sound paired with gentle vocals.

What they weren't known for in the Music industry was writing instrumental pieces but when the opportunity came up to work on the new Makoto Shinkai movie, Your Name, they leapt onto it.

The band took a year off from producing their own albums to work on Your Name. Each song was crafted to relate back into the over all theme and feeling of the film. The music is as much a part of the film as Shinkai's amazing visuals.

You may ask how I learned of this, I attended TIMM/TIFF this year and it was the talk of the trade show. Universal Music (The company the Radwimps are signed to) was extremely proud of what their talent did.

The only thing I wish is that SST included all of the tracks from the OST as each one was composed specifically for the film, including the J-pop ones.

Radwimps - Your Name
My soundtrack of the year in 2016
By: plus1
Date: 6 Jan 2017

A great soundtrack with beautiful songs.
Well balanced with fast-paced, good-humoured tracks as well slow and quiet pieces.
And the film is thoroughly watchable, too.

2 of 2 found this review helpful

David Arnold & Chris Cornell - Casino Royale (Single)
10 years later: finally available on SST!
By: anya
Date: 16 Nov 2016

you know my name

All the James Bond soundtracks on SST have the theme song of the movie but not Casino Royale (2006): what a disappointment it was for me! And finally, here it is!!!! :D
I'm not a James Bond fan, I didn't like the movies with Pierce Brosnan as 007. And then, Casino Royale came out. All the reviews were good and I gave it a try.
I remember sitting on the theatre, not amoung a big crowd, discovering the opening scene and its end: 007 walking, turning toward us, shooting at the screen and then... hearing those striking and ferocious notes starting the opening credits.
Well, I never saw a James Bond movie on cinema before, so maybe it overwhelmed me even more. I was not used to that kind of opening credits. I thought it was gorgeous and the music sticked to it so beautifully. The combination of the music, lyrics and images was perfect to me.
What I love about this song, it's that it's not like the other James Bond songs: the movie's title is not a part of it, you won't hear Chris Cornell say "Casino Royale", no! It's a song about James Bond, but this guy is already so famous that nobody has to say his name, just the lyrics explain who he is and just by them, you know his name. Because that's what the movie is about: the beginning of James Bond, his first mission as "00".
I think this song fits the new style of the franchise (darker than the 90's ones which were less serious) and maybe a male singer was choosen for this reason, to not make it sound like any of the previous ones.

I don't listen any other music than soundtracks, so I never heard of Chris Cornell before. And as I so deeply wanted this song and sadly discovered it wasn't on the Casino Royale soundtrack ç__ç I purchased one of Chris Cornell's album, just to own this song.
I'm glad that, finally, after 10 years (!!!!), You Know My Name is on SST.
Now I know that at any moment, while listening, the first notes can start and give me shivers and then will come Chris's voice, oh so gentle, to go higher and higher, and finally ending it screaming.

John Williams - Terminal, The
Surprising and Welcome
By: PeteC
Date: 4 Aug 2016

We are accustomed to hearing John Williams score films that are action packed or very emotional, so when hear something like this score, we can't help but be delighted. Like the film, the music takes us into a place that is new to us but the presentation makes it welcome. This is a welcome score.

Miklos Rozsa - Quo Vadis (1951)
A beautiful re-recording from Miklós Rózsa's Quo Vadis
By: ZeframCochrane
Date: 27 Jun 2016

The musical score by Miklós Rózsa is notable for its attention to historical authenticity. Rózsa incorporated a number of fragments of ancient Greek melodies into his own choral-orchestral score. New recordings were made by Rózsa with the Royal Philharmonic Orchestra (1977) and by Nic Raine, conducting the City of Prague Philharmonic (2012)

This newly recorded 2 CD Collector’s Edition of the complete score features previously unreleased music (including the complete 7-minute “Burning of Rome” sequence and several cues that were dropped from the film), newly recorded in stunning and dynamic digital sound. From Nero’s songs to arena hymns, from powerful Roman marches and fanfares to a gorgeous love theme, from colorful music at the Roman Bacchanale to fiery music for the burning of Rome, from the exultant “Main Title” to the ecstatic “Finale” .Over 136 minutes of classic and glorious Rózsa, carefully reconstructed from the original studio scores by Leigh Phillips and excitingly performed by The City of Prague Philharmonic Orchestra and Chorus under the baton of Nic Raine. Bonus tracks include the premiere complete stereo recording of Rózsa’s Quo Vadis Suite.Quo Vadis is another superb reconstruction CD release.I like it.Sounds absolutely wonderful.

1 of 1 found this review helpful

Thomas Wander & Harald Kloser - Independence Day: Resurgence
Jon Broxton's review on MovieMusic
By: Dutchbat
Date: 24 Jun 2016

The early reviews of Independence Day: Resurgence have not been kind but, then again, they weren’t especially great back in 1996 either. The original Independence Day is not a good film, by any stretch of the imagination. The dialogue is clunky, the acting is hammy, and some of the plot holes are big enough to pilot a spacecraft through, but what it did have was spectacle, heart, and buckets of good, old fashioned fun. The spectacle was provided via the astonishing visual effects, groundbreaking for the time, and the fun was inherent in the devil-may-care camaraderie between the lead actors, but the heart was entirely as a result of David Arnold’s score. Arnold wrote the best score of his career to date, and one of the best scores of the entire decade, for Independence Day, adding a level of energy, excitement, emotional release, and flag-waving patriotism that has not been replicated since. Emmerich and Arnold parted ways after their ‘professional disagreement’ on The Patriot in 2000 and have not worked together since; Emmerich’s composers of choice since then have been the Austrian-born composer/producer/writer Harald Kloser, and his countryman Thomas Wander, whose scores have entirely failed to emulate anything Arnold ever wrote. Such is the case again with Independence Day: Resurgence.

I always try to be fair in reviews, and only judge scores based on what they are, not what they are not, but the score for Independence Day: Resurgence is so disappointing it’s difficult not to make comparisons. Wander and Kloser have always been, for me, surface-level composers, technically competent enough to get the job done, but who never provide anything more satisfying than that in terms of thematic content, emotional nuance, or compositional excellence. They use a big orchestra, a choir, electronics, and all the bells and whistles that most composers have at their disposal these days, but their scores are instantly forgettable. I’m sitting here, right now, trying to recall a single note of The Day After Tomorrow, or 10,000 BC, or 2012, or White House Down, and I genuinely can’t do it. Unfortunately, I have the feeling that Independence Day: Resurgence will be exactly the same.

The score’s main theme is clearly modeled on Arnold’s theme from the original, featuring the same bright trumpet performances, Americana-inspired snare tattoos, and solemn-yet-stirring string accompaniment. It gets its first performance in “Great Speech,” and later appears prominently in cues such as “Fear,” “Welcome to the Moon,” “It’s Getting Real,” “Worth Fighting For,” and “Humanity’s Last Stand,” before receiving its final statement during the conclusive “Independence Day Resurgence Finale”. There’s nothing especially wrong with the theme; it ticks all the right emotional boxes, has a similar sense of broad boldness as Arnold’s theme, and even allows for some subtle variations involving lighter, prancing strings and woodwinds. The problem is that it’s just so unremarkable; I don’t like the word ‘generic’ because it’s over-used and often doesn’t fit the context when it’s describing something, but I can’t think of a better way to describe it. It sounds like a dozen other noble-patriotic themes from a dozen other films, without anything distinctive to make it stand out from the crowd.

The same goes for a great deal of the score’s tension and suspense sequences, which dominate the majority of the album’s middle section. String sustains, electronic tones, brass dissonances, and occasional groaning and whooshing sound effects typify cues like the opening “Traveling Through Space” and subsequent efforts such as “How Did They Get the Lights On,” “Inside the African Ship,” “The Only Family I Got,” “It’s a Trap,” and “The Queen Is Leaving,” among others. A couple of cues do feature some touches in the orchestration which make you sit up and take notice, like the unusual processed harp accents in “It’s Getting Real,” or the metallic sound effects in “The Sphere,” but these moments are few and far between. Clever touches in the orchestration, done purely at the whim of the composer to amuse him or herself, are things that can really elevate a score for me, and as such the comparative lack of ambition shown by Wander and Kloser in this regard is typical of the score as a whole.

Only occasionally do Wander and Kloser make any attempt at real, exciting action music. “More Stimulation” emerges into a dense action cue full of relentless string ideas, rampaging brass hits, and an action variation of the main theme at the end goes some way to developing a thematic core. Later, “The Friendly Spaceship” eventually emerges from its grating opening into a sequence for strident cello chords, aggressive and threatening, surrounded by some cool spacey ambiences that are well conceived. Towards the end of the score, “Bus Chase” harnesses the orchestra in its largest and most powerful statements, complete with choral chanting, trilling brass triplets, and even an unexpected allusion to Arnold’s 1998 Godzilla theme, although this is likely to be temp-track bleed-through. As good as these cues are, they are very much the exception rather than the rule, rendering far too much of the score inert and in need of an injection of adrenaline.

In “What Goes Up” Wander and Kloser introduce what appears to be a leitmotif for the alien invaders, a repetitive throbbing idea clearly modeled on James Newton Howard’s score for Signs, and which features some contemporary electronic textures, moments of cool interplay within the string section, and some all-too-brief woodwind ideas. This same motif appears later in “Flying Inside,” although its effectiveness here is undermined by the predictability of the suspense scoring elsewhere in the cue. There doesn’t appear to be a prominent theme for the film’s core romantic relationships – the closest it comes to having one is the quite pretty cello theme at the end of “Fear” – and its absence is keenly felt; the lack of this type of emotional content leaves the score feeling somewhat one-note, interested only in the action sequences and the heroic bombast, with no real human element to make the fight worth fighting.

Unfortunately, the score’s piece de resistance is also the thing which cements it’s final judgment: the inclusion of David Arnold’s full Independence Day theme into “We Are Rich,” and the score’s finale, “ID4 Reprise.” The outstanding quality of Arnold’s music throws Wander and Kloser’s score into sharp relief, underlines its shortcomings, and reminds the listener just how inferior this version is when compared to Arnold’s original. Compare the couple of themes in this score to the rich thematic depth of Arnold’s score. Compare the orchestrations here to the intricate and interesting arrangements that Nicholas Dodd brought to bear. Nothing in Independence Day: Resurgence comes close to the vivid intensity of action cues like “Firestorm” or “Base Attack,” or the tear-jerking heroism of “The President’s Speech,” and it’s a damning indictment when the best thing about this score is the music for its predecessor.

Taken on its own terms, parts of Independence Day: Resurgence are enjoyable enough. Some of the action music is compelling, and the main theme enjoys a few moments where it rises to the fore and spreads its valiant wings. Unfortunately, for far too much of its running time, the score is forgettable, predictable, and – shockingly, for a film of this nature – quite dull. Twenty years from now I highly doubt that Thomas Wander and Harald Kloser’s score will be enjoying expanded collectible CD releases, or will be performed live-to-picture in front of an enthusiastic orchestra, the way David Arnold’s was earlier this year. Again, I fully acknowledge that it was highly unlikely that any score would come close to surpassing the original 1996 masterpiece, and to judge it on those terms may be a little unfair, but for it to be this inferior is disappointing in the extreme.

1 of 1 found this review helpful

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