Here's an insightful (and overdue) look at how the "Zimmer approach" to music is essentially laying waste to the art to film scoring. I'm less pessimistic than the author about the future (Dunkirk's score has attracted a lot of notice -- not all of it good -- so maybe it is a sign things are turning?)

http://birthmoviesdeath.com/2017/08/02/ ... anti-score

Indeed...

Having not previously known much about the evacuation of Dunkirk in 1940, I'm kinda shocked I really don't know that much more now that I've seen the film.

I know people talk about sound with the film and that's all fine but again, even by Zimmer's own standards that Dunkirk "soundscape/score" falls way short IMO.

It's just like the drop off in that third Dan Brown film he scored. Inferno? I couldn't believe the difference between that vs its two predecessors.


Unfortunately I'm probably running equal or close to it in terms of that author's pessimism overall. I'd love to be proven pleasantly wrong.

Remember the days of the "love theme"? There ain't no place for that kind of lyricism in film scores today, that's for damn sure.

Some people raving about Zimmer's "time based, syncopated approach" for this score don't seem to realize it's nothing new or groundbreaking -- Stewart Copeland did it in RUMBLE FISH in 1983!