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Jolly?
One thing we can be sure of, there will not be a ‘jolly theme’ on the Disclosure soundtrack. We are living in different times now.
I forgot Always. While I didn’t like the movie at all, I did like the score. It is however short but very ‘heavenly’ (too sweet perhaps?), and it gave us another typical Williams ‘fun’ theme, which is always a good thing.
Is there a better name for Williams’ fun themes? You know, like ‘Follow me’ (Always), ‘The Tennis Game’, ‘Jim’s New Life’, ‘Tourists On The Menu’, etc ….
I probably like the Spielberg movies that are not that popular (like Empire Of The Sun or The Fabelmans, or that’s right, The Color Purple).
But here are the Spielberg movies I simply couldn’t watch till the end:
Tintin (I confess, kids animation flicks don’t appeal to me)
Lincoln (the way it’s directed, its tone, it just puts me off)
The Post (see Lincoln)
Ready Player One (it’s a nervous video game to me)The Spielberg movies that I didn’t bother to see (because life is short, right?)
The BFG
Indiana Jones And The Dial Of DestinyThe Spielberg movies that I watched but did not like at all:
War Horse (kids movie)
Indiana Jones And The Crystal Skull (idiotic)
War Of The Worlds (overly sombre with characters that fail to intrigue)
Jurassic Park (kids movie)
The Lost World (don’t remember, simply not interesting, no character, no indentity)
Amistad (opening scene was good, then it becomes a visually unattractive TV movie, a courtroom drama, a summing up of historical facts or events)
Bridge Of Spies (again, it was the overall tone that bothered me, a Tom Hanks vehicle)
West Side Story (I don’t know why I stuck around till the end)
Indiana Jones And The Temple Of Doom (silly ADHD movie, kinda like 1941)
1941A long time ago I was watching a movie and I remember that I was impressed with the score but I didn’t know who the composer was. When I found out that it was Anne Dudley I was quite surprised because I only knew her from ‘The Art Of Noise’. The score sounded much more musically developed than anything I knew by the Art Pop group (not that I was all that familiar with their discography). The problem is that I don’t remember the movie at all. Heck, it even could have been a TV series (but it certainly wasn’t Poldark, which I never watched). Anyway, my surprisement is actually the core of my post.
I wish Sakamoto did more orchestral scores like he did with Bertolucci because his sense for sad and dramatic themes is incredible and really hits me in the right spot. Except for Merry Christmas, Mr. Lawrence (Furyo), I must confess that I’m not a fan of his electronic (ambient) scores, though the ‘hybrid’ score (real strings and electronics) is fine. Come to think of it, there are some real strings on Lawrence as well (and I love that track).
I switched off The Monkey after a minute or five. It felt like the movie was going to be cliché after cliché and I wasn’t in the mood for that. I am in no obligation to watch movies to the end. Believe it or not but I recently did the same with Sinners, the movie the internet went crazy over. It’s like with music, you don’t need to listen all the way to the end to know whether you like it or not.
Not exactly a great movie (you have to avoid critical thinking and abandon all sense of logic), but since the topic (two young girls want to climb a thin transmitter mast of 600 meter) obviously plays with our strongest instincts, it will most likely be an experience with thrills and chills.
The second time I watched Das weisse Band was not as usual in the evening but in the morning when senses aren’t yet dulled down. And boy,how the movie suddenly sucked me in! It’s not so much about the things that happen in the story but rather about the thing that is brewing under the surface. But as we know, whatever you think the movie is really about, Haneke will always say that you’re wrong.
It’s the same for me. I felt La Pianiste is simply way too pessimistic. There was nothing that counterweighted it. Life isn’t like that. Then again, I only watched it once.
Yes, we couldn’t be more on opposite sides. What I saw was real pain, just like in Funny Games. And I wasn’t prepared for it!
Anyway, to the Haneke fans here, what is your favorite Haneke movie? I think mine would be Das weisse Band (The White Ribbon). To come to this conclusion, I had to watch it twice. I couldn’t believe Haneke is actually the writer. I thought the movie had to be an adaptation of a classic German novel, one that no one would dare to film.
I don’t view Hamnet as being melodramatic, sentimental or American (even though it’s co-produced by Spielberg) at all!
I agree with the use of the music by Richter. Was Zhao unaware that it has been used before? That was the only flaw (in my eyes and ears).
I would add Funny Games to your list (the US version, never seen the original). And believe it or not, some parts of Hamnet (the excrutiating pain of grief) reminded me of Haneke.
Maybe it’s partially because I am a parent myself, but yes, Hamnet did have a strong effect on me. In fact, I don’t think I ever want to watch it and go through it all over again.
While I felt that I have watched better social dramas than Chloé Zhao’s Nomadland, I don’t think I’ve felt the grief of child loss more deeply than with her latest movie Hamnet (In The Bedroom gets close though). Spoiler alert: The most genius aspect of the movie has to be the resurrection of the child through an adult stage actor. When he appeared, the intention was immediately apparent, and I think it made me almost as ‘happy’ as the mother. I felt what she must have felt and I don’t think I’ve ever experience something similar with a movie before. The last time I was equally impressed with the direction of a movie was with The Power Of The Dog, so nobody can accuse me of having something against female directors.
I only watched the trailer of Project Hail Mary (that title!) and it looked like a movie for a very young audience. I actually liked The Martian when it was about ‘How to survive on Mars’. The moment it was all about the rescue mission (“Let’s bring him back home, guys”), I was bored to death. It was Gravity all over again.
It as you who recommnended Ancient and Modern at JWFan, Thor. And I quite like it. BTW, track 6, The Holly and the Ivy, which is cited as a traditional but sounds like film music, strongly reminds me of the style of Richard Robbins, except then for the muted French Horns. Did you notice this too? I mean, if I heard that in a movie and I didn’t know who composed the score, I would have placed a lot of money on Robbins.
Anyway, do you know of other similar ventures by Anne Dudley? Because looking at her discography on Spotify, I see that most of her albums are soundtracks.
