Michael Gacchino doing Michael Giacchino:

Summary in three points:

1. I like that he's being thematic...thank you for going against the grain of (at least) Western Zimmer film scoring and giving the listener themes.
2. The main theme sounds like a distant variation/echo of his theme for Star Trek. Plus, most of it could be lifted from SM and put in ST and I would not be able to tell which belonged where.
3. His mf and ff are too mf and ff...even the quieter passages sound too loud. How about some dynamic variation? As it stands that suite is like a hammer that keeps hitting me on the head with how "in your face" the orchestra is...calm down on the tympani too!

AndyDursin wrote:Michael Gacchino doing Michael Giacchino:

Eh. It reminds me of so much else these days. There's no distinctive theme, and it sounds like something played directly onto a keyboard and then transcribed for orchestra by a team of "assistants". Mostly bland tuttis, with no distinctive use of the various instrumental colors.

I thought about posting my impressions on FSM, but what's the use? I'd just be branded a heretic by people who think it's as great as Superman.

Another thing I don't care for about Giacchino's music: the "claustrophobic" timbre of it. Even using a large orchestra, it always sounds "small" and confined. Not sure it's because of the recording engineer he uses, or how he likes it to sound, but once he started LOST it's like everything sounds exactly the same, even if it's tinkering with strings instead of a piano, lol. There is no reverb, no sense of scale and color. Very "muddy" sounding no matter how large the group is he's working with.

Paul MacLean wrote:

AndyDursin wrote:Michael Gacchino doing Michael Giacchino:

Eh. It reminds me of so much else these days. There's no distinctive theme, and it sounds like something played directly onto a keyboard and then transcribed for orchestra by a team of "assistants". Mostly bland tuttis, with no distinctive use of the various instrumental colors.

I thought about posting my impressions on FSM, but what's the use? I'd just be branded a heretic by people who think it's as great as Superman.

You mean, as great as SUPERMAN RETURNS.....

Edmund Kattak wrote:

Paul MacLean wrote: I thought about posting my impressions on FSM, but what's the use? I'd just be branded a heretic by people who think it's as great as Superman.

You mean, as great as SUPERMAN RETURNS.....

^^Lol...SUPERMAN RETURNS...Andy had some choice things to say about that score way back when.

Never forget!!

Topping off these aspects is the evocative, darkly lyrical score by John Ottman, continuing in his unique dual role for Singer as composer and editor (with Elliot Graham). The sometimes ethereal qualities of Ottman’s work, amplified by significant choral strains, provide an emotional dimension — and show up Williams’ “Star Wars” thematic variation for the bombast it is

http://variety.com/2006/film/awards/sup ... 200515435/

AndyDursin wrote: http://variety.com/2006/film/awards/sup ... 200515435/

Was he the same guy who reviewed LOTR and said (of Howard Shore's music) "It may not be Wagner, but at least it's not Williams"?

I remember the NY DAILY NEWS giving a review of SUPERMAN back in 1978 and mentioned Williams' music be, ands I remember the quote, "Thunderously corny."

There are Cygnus-crew-like snobs in every decade.

That entire review is so so wrong. I still wonder if they were related to Singer somehow.

Owen Glieberman calls the movie "mildly diverting" -- frankly it sounds like he liked it less than he indicates -- but is at least thankful for this:

The biracial romance is a step in the right direction

Kind of weird, no?

Would he have been OK if it were 2 African-American actors -- or is he just tired of White People?

Anyway, at least there's that to look forward to!

http://variety.com/2017/film/reviews/sp ... st-wrapper