There seemed to be a discussion on this movie developing over at the I, ROBOT thread, so I thought I'd give it a topic of its own.
There have been a few comments on Ottman's score that now have me interested in it. Does anyone know of any sound clips available online? I would like to hear some samples before purchasing.
Mark
FANTASTIC FOUR
just go over to his great homepage www.johnottman.com
not the best clips of the score you can hear, but still they offer some insights...
I think his score is far better than X2...
not the best clips of the score you can hear, but still they offer some insights...
I think his score is far better than X2...
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AndyDursin
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- Joined: Tue Oct 05, 2004 8:45 pm
- Location: RI
Out today, courtesy of Varese.AndyDursin wrote:Is there a score album planned? Thought I saw one over on Intrada but I'm not sure now...
http://shopping.netsuite.com/s.nl/c.ACC ... id.4350/.f
I think the Varese CD is a great compilation of the score. Of the 90minutes, 60 were used, but chopped up in the movie (will watch it tonite and can then comment on that), so a 45 minutes album is ok I guess. All the major action cues ar ehere (except the bridge sequence... Im not sure about that.. all other cues I recognized right away from the rec session, but couldnt find the bridge scene, the cue titles are no help in that regard either).
The main theme is great, I even like it more than X2, and it is used quite good in many variations through the cd and closes it rousingly. The next to last cue cue is in fact the final of the movie, but wouldn't have ended the CD so well. Good choice!
This is really one of the more satisfying scores and works great on the movie. Too bad it was treated so badly in the movie, but well, they reedited the whole thing after the recording, so what can you do? At least they didnt reject it!
Highly recommended! Really!
even Douglas Fake form Intrada gave it a "KNOCKOUT!"
The main theme is great, I even like it more than X2, and it is used quite good in many variations through the cd and closes it rousingly. The next to last cue cue is in fact the final of the movie, but wouldn't have ended the CD so well. Good choice!
This is really one of the more satisfying scores and works great on the movie. Too bad it was treated so badly in the movie, but well, they reedited the whole thing after the recording, so what can you do? At least they didnt reject it!
Highly recommended! Really!
even Douglas Fake form Intrada gave it a "KNOCKOUT!"
just came back from the movies...
so, the movie was still fun. A no-brainer, sure, but never meant to be more than that. And at least it doesnt insult your intelligence.. it's just a fluffy popcorn flick. The (re-)editing made it very choppy though, especially in the first half... they just seemed to be afraid of getting to long, so they bascially shortened everything.
For example the BYE BYE NED scene went on much longer and Ned dies slower and in a different way. In the movie it was all only 20 seconds long... strange. the ending too was just very choppy. I mean if you have that extra scene at the end about Doom's fate, then please take your time and not only show it for 10 seconds like an afterthought.
still, I wouldnt be surprised if the movie despite all flaws makes more than BATMAN BEGINS. The audience really loved it. I definitely rather want to see a sequel to this than to BB or SPIDERMAN...
so, the movie was still fun. A no-brainer, sure, but never meant to be more than that. And at least it doesnt insult your intelligence.. it's just a fluffy popcorn flick. The (re-)editing made it very choppy though, especially in the first half... they just seemed to be afraid of getting to long, so they bascially shortened everything.
For example the BYE BYE NED scene went on much longer and Ned dies slower and in a different way. In the movie it was all only 20 seconds long... strange. the ending too was just very choppy. I mean if you have that extra scene at the end about Doom's fate, then please take your time and not only show it for 10 seconds like an afterthought.
still, I wouldnt be surprised if the movie despite all flaws makes more than BATMAN BEGINS. The audience really loved it. I definitely rather want to see a sequel to this than to BB or SPIDERMAN...
Gotta give credit where it's due:
I broke down and bought a few scores this weekend, inlcuding Ottman's Fantastic Four score.
It's not the greatest thing of all time by any means, but it's fairly solid and has some nice moments.
The thing that bothers me about it is: You almost feel like Ottman is about to turn a corner, or break a ceiling, in terms of his overall development, and he just hasn't yet. Several years hence, and it feels like Ottman has plateued out a bit.
FF4 is frustrating because there's no actual thematic material to speak of. Instead, you have some instances of some nice orchestral colors and some moments, but...jeez John, it's time to whip up a few themes while you're at it.
If you put a gun to my head right now, I really couldn't hum anything from this score.
C+/B- score imho.
Listening to this and his Xmen 2 score, which I liked a little bit more...I really don't have great enthusiasm for his Superman score forthcoming. UNLESS...that's the score where he really, finally turns that corner and comes up the next level.
I've had my eye on Ottman since Usual Suspects and Apt Pupil. It's time for him to take that next step.
I broke down and bought a few scores this weekend, inlcuding Ottman's Fantastic Four score.
It's not the greatest thing of all time by any means, but it's fairly solid and has some nice moments.
The thing that bothers me about it is: You almost feel like Ottman is about to turn a corner, or break a ceiling, in terms of his overall development, and he just hasn't yet. Several years hence, and it feels like Ottman has plateued out a bit.
FF4 is frustrating because there's no actual thematic material to speak of. Instead, you have some instances of some nice orchestral colors and some moments, but...jeez John, it's time to whip up a few themes while you're at it.
If you put a gun to my head right now, I really couldn't hum anything from this score.
C+/B- score imho.
Listening to this and his Xmen 2 score, which I liked a little bit more...I really don't have great enthusiasm for his Superman score forthcoming. UNLESS...that's the score where he really, finally turns that corner and comes up the next level.
I've had my eye on Ottman since Usual Suspects and Apt Pupil. It's time for him to take that next step.
hm... I think the FF theme is very memorable and it is almost in every cue... hinted at or varied... also there is sort of a theme for each time Sue Storm uses her powers and then the love theme, whihc is really cute too.
The theme for Dr. Doom is just the FF theme played dark.
Also there is a theme for The Thing, though I have to admit that I don't remember that right now.
But I think the score is a lot more thematic and uses the themes a lot more than X2. Also the actionmusic is a lot better constructed than the X2 stuff.
The theme for Dr. Doom is just the FF theme played dark.
Also there is a theme for The Thing, though I have to admit that I don't remember that right now.
But I think the score is a lot more thematic and uses the themes a lot more than X2. Also the actionmusic is a lot better constructed than the X2 stuff.
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AndyDursin
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- Joined: Tue Oct 05, 2004 8:45 pm
- Location: RI
I'll be blunt, but quite frankly John Ottman is not a talented composer. I hate to say it, I really do, but he's nothing but a competent, very average composer IMHO and I'm basing this on his body of work as a whole.
I've yet to hear one score he's written that has ELEVATED the movie it was written for. Sure THE USUAL SUSPECTS was a very solid score, but that's really the only thing he's written that really made me take notice of it. On the flip side, there are handfuls of scores he's written that are, frankly, totally disposable.
The best film music makes its supporting film better. Ottman's music isn't BAD film music -- it's just serviceable, most of the time, often forgettable, and nothing more.
These days that's better than the alternative, I will grant you that, but in 20 years few will be whistling Ottman's themes or looking back and going, "gee, what a great score THAT (insert score here) was."
Just being honest. There are worse composers, but Ottman has had more than enough chances to take it "to the next level." He just isn't that kind of composer and never will be, either.
To me he's one of many competent but unremarkable "youngish" composers who continuously cranks out scores, cashes his check, and fails to elevate the artistry of the medium...and I realize it may not entirely be his fault (due to temptracks, studio interference and what not), but certainly I can detect more promise in other artists than Ottman.
I've yet to hear one score he's written that has ELEVATED the movie it was written for. Sure THE USUAL SUSPECTS was a very solid score, but that's really the only thing he's written that really made me take notice of it. On the flip side, there are handfuls of scores he's written that are, frankly, totally disposable.
The best film music makes its supporting film better. Ottman's music isn't BAD film music -- it's just serviceable, most of the time, often forgettable, and nothing more.
These days that's better than the alternative, I will grant you that, but in 20 years few will be whistling Ottman's themes or looking back and going, "gee, what a great score THAT (insert score here) was."
Just being honest. There are worse composers, but Ottman has had more than enough chances to take it "to the next level." He just isn't that kind of composer and never will be, either.
To me he's one of many competent but unremarkable "youngish" composers who continuously cranks out scores, cashes his check, and fails to elevate the artistry of the medium...and I realize it may not entirely be his fault (due to temptracks, studio interference and what not), but certainly I can detect more promise in other artists than Ottman.
I think you're right, when you boil it all down to brass tax.AndyDursin wrote:I'll be blunt, but quite frankly John Ottman is not a talented composer. I hate to say it, I really do, but he's nothing but a competent, very average composer IMHO and I'm basing this on his body of work as a whole.
I've yet to hear one score he's written that has ELEVATED the movie it was written for. Sure THE USUAL SUSPECTS was a very solid score, but that's really the only thing he's written that really made me take notice of it. On the flip side, there are handfuls of scores he's written that are, frankly, totally disposable.
The best film music makes its supporting film better. Ottman's music isn't BAD film music -- it's just serviceable, most of the time, often forgettable, and nothing more.
These days that's better than the alternative, I will grant you that, but in 20 years few will be whistling Ottman's themes or looking back and going, "gee, what a great score THAT (insert score here) was."
Just being honest. There are worse composers, but Ottman has had more than enough chances to take it "to the next level." He just isn't that kind of composer and never will be, either.
To me he's one of many competent but unremarkable "youngish" composers who continuously cranks out scores, cashes his check, and fails to elevate the artistry of the medium...and I realize it may not entirely be his fault (due to temptracks, studio interference and what not), but certainly I can detect more promise in other artists than Ottman.
This score is going to grow on me a bit. It's solid enough, but...yeah, I think you've hit the nail on the head.