THE MUMMY (2017) - June 9th - Trailer

[Monterey Jack]

God save us from interconnected "cinematic universes".

[AndyDursin]

Well they did have them back in the 40s!

[AndyDursin]

Russell Crowe in talks to play a "Jekyll & Hyde" type who could get his own standalone movie --

http://www.thewrap.com/russell-crowe-in ... om-cruise/

Russell Crowe is in early discussions to play a Dr. Jekyll and Mr. Hyde-type of role in “The Mummy.”
The Universal film already has Tom Cruise signed on to star, along with also Jake Johnson (“Jurassic World”), Sofia Boutella (“Kingsman: The Secret Service”) and Annabelle Wallis (“Annabelle”).

It’s possible Crowe could win his own standalone movie with the part.

After locking in Cruise, Universal has landed a second major movie star to bolster its Monsters Universe, as Johnny Depp is set to star in “The Invisible Man,” an individual familiar with the project told TheWrap in February.

Alex Kurtzman and Chris Morgan, the architects of Universal’s Monsters Universe, will produce the big-budget movie for the studio. Kurtzman is also directing “The Mummy,” set for release on June 9, 2017.

[John Johnson]

Brian Tyler is set to compose the music for the upcoming fantasy adventure The Mummy. The film is directed by Alex Kurtzman (People Like Us) and stars Tom Cruise, Annabelle Wallis, Sofia Boutella, Jake Johnson, Marwan Kenzari, Courtney B. Vance and Russell Crowe. Jon Spaihts (Prometheus, The Darkest Hours) is writing the screenplay. The reboot of The Mummy franchise is produced by Kurtzman, Chris Morgan (Fast & Furious series, Wanted) and Sean Daniel (The Mummy series, The Wolfman, Dazed and Confused). Tyler has previously scored the Kurtzman-produced features Eagle Eye, Now You See Me and its upcoming sequel, as well as the TV shows Sleepy Hollow, Hawaii Five-O and Transformers Prime. The Mummy is set to be released on June 9, 2017 by Universal Pictures. (via Universal’s Monster Universe)

http://filmmusicreporter.com/2016/05/09 ... my-reboot/

[AndyDursin]

Can't wait to not listen to this score until I'm absolutely forced to. lol

[Monterey Jack]

The thing is, Tyler showed promise with his fine score to Frailty fourteen years back, but he hasn't written a memorable effort since. He's an adequate orchestral technician, but has no discernible "style" whatsoever.

[AndyDursin]

Exactly. I mean, good for him for carrying the torch for the orchestra, but goodness, there's nothing going on there. That he's essentially become Jerry Goldsmith in 2016 is all the evidence you need of where film music has gone.

Tyler would be scoring episodes of some low-rent syndicated TV show if this were the '80s. Now he's on the A-list.

[Monterey Jack]

Exactly. I mean, good for him for carrying the torch for the orchestra, but goodness, there's nothing going on there. That he's essentially become Jerry Goldsmith in 2016 is all the evidence you need of where film music has gone.

Tyler would be scoring episodes of some low-rent syndicated TV show if this were the '80s. Now he's on the A-list.

Wait...I'll give him credit for the great, jazzy end title cue for Iron Man 3. If only the previous movies (and the preceding score) were as much fun. Other than that, Tyler is weak sauce, and utilizing Goldsmith's First Blood theme at the end of the last Rambo only illustrated the vast chasm between the film music atmosphere of 1982 as opposed to today.

[AndyDursin]

I recall that cue being solid at the time....but I can't remember a note from it today.

[Monterey Jack]

I recall that cue being solid at the time....but I can't remember a note from it today.

It's indicative of what's desperately wrong with today's "popcorn" movie scores when even such a tepid crumb seems ambrosial in comparison to most of today's crap. Just being "okay" these days makes a score stand out, whereas a score of similar quality released twenty years ago would have been raked over the coals by Lukas and Jeff in FSM. Look at the fawning over each new Marco Beltrami score by his small but loyal band of "groupies"...yes, I'll admit he's written some fine scores (ironically, one of his best efforts -- for Don't Be Afraid Of The Dark -- was never officially released on CD ), but the dude is NOT Jerry Goldsmith or James Horner...not even close. Same with adequate orchestral technicians like Tyler or John Ottman, who are the modern equivalents of what John Debney and Joel McNeely were two decades ago...they can re-arrange temp tracks like nobody's business (witness Ottman's Usual Suspects...Sneakers and Basic Instinct all over the damn place), but ask them to actually write anything new or unusual, and they usually come up lacking. Debney's recent Jungle Book is a great example...it offers lush re-arrangements of the George Bruns score and song melodies from the 1967 animated film, and is certainly a lot better than what we usually get these days, but it's also rife with Goldsmith and John Barry licks. Hell, I'll take Imitation Goldsmith or Barry over most of today's garbage, but don't try to tell me you're not serving skillfully-reheated leftovers.

[AndyDursin]

e. Same with adequate orchestral technicians like Tyler or John Ottman, who are the modern equivalents of what John Debney and Joel McNeely were two decades ago..

And Debney and McNeely, IMO, are far better composers than Tyler and Ottman. Case of diminishing returns even there.

Hell, I'll take Imitation Goldsmith or Barry over most of today's garbage, but don't try to tell me you're not serving skillfully-reheated leftovers.

I guess, but the scores don't function like Goldsmith or Barry's scores did. It's all the same to me at this point. None of it is effective or ENHANCES the film. It's all just "there" and is being used in the same way, movie in, movie out. Cookie-cutter crap.

You used to be able to watch a movie and have the music ELEVATE what was on-screen. Those days? Long gone. In fact, if anything, it's gone the other way. A decent score could make at least a few of these popcorn movies more satisfying.

Alas, even Williams' FORCE AWAKENS could only do so much to support that film. Watching it again was like watching a cover band doing an inferior version of your favorite song. It hits all the same beats, but like most modern movies, substitutes action and CGI for character and the occasional breath of introspection. Williams didn't have a chance there to write much in the way of emotive music, as he did for any of the prior films, and it's no surprise he's had enough. Sad as it may be for some, it's a good time for him to bow out.

[AndyDursin]

[Monterey Jack]

Show me the MUMMY...!

[AndyDursin]

LOL.

I love the transparent "franchise building" you can see even in this trailer. Crowe's Dr. Jekyll, serving as the Nick Fury of the Universal Monsters franchise, welcoming viewers to "a new world of gods and monsters." I'm sure they're hoping this springboards off to a new series of films, but Cruise at this point is nearly starting to resemble Dorian Gray!

[Eric W.]

Won't have the comic spark and sense of fun the first two Brendan Fraser movies did.

You all more than beat me on the music score subject as well. *makes bomb dropping noise*


As good as he looks for his age, all told, I think Tom's really pushing believability on some of these roles he's taking.