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Underworld: Evolution
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Topic: Underworld: Evolution
Al
Standard Userer
Just caught the film at the local Drafthouse, and I got a kick out of it; it was certainly more exciting than the first, taking the action out of the city (and the country for that matter) and moving things along at a good clip.Beltrami's score fit the dark theatrics perfectly: the bold brass and martial percussion over the main titles alone were better than Haslinger's entire UW score.
Oh, and it seems pretty obvious that the finale from Goldenthal's Titus made it into the temp track, but Beltrami's version--showing up during a love scene and the finale--is right on the money. It's the chords that count, and he gets 'em right. Confident, solid scoring all around.
posted 01-20-2006 05:29 PM PT (US) big steve
Non-Standard Userer
Saw this bloody bit of fluff this afternoon and it is guilty pleasure fun. Normally, I'm not a fan of composer Marco Beltrami. How he has gotten so popular is the greatest movie music mystery since Graeme Revell started to score every third film made?That said I felt that his score was very solid, even though it is mostly unmemorable.
He did accomplish the first and most important rule of scoring: don't hurt the film. He also acomplished the second: create a sound scape that helps to create the world musically.
Alas, like most scores these days, it did not stay with me as I walked out of the theater.
My question to the board is when did memorability stop mattering when scoring a film. That has always been the special power of "the old timers."
I miss those days.
Oh yeah, KATE BECKINSALE is hot, as usual.
posted 01-20-2006 08:08 PM PT (US) lancer
Standard Userer
not a bad movie, if blood isnt your thing dont see it. I liked this one as much as I liked the original underworld, and the score is definitely better than the original, and yes kate is so very hot. a few words to summon the movie up bloody, sexy,and explosive action.
posted 01-21-2006 08:02 PM PT (US) PeterK
FishChip
68 minutes of score on the forthcoming CD.Checking the artwork, methinks more Kate fans will be buying this CD than Marco fans.
posted 02-09-2006 04:24 PM PT (US) nuts_score
Standard Userer
Hooray! Hooray!
posted 02-09-2006 10:27 PM PT (US) Dinko
Standard Userer
quote:
Originally posted by big steve:
How he has gotten so popular is the greatest movie music mystery since Graeme Revell started to score every third film made?
Not much of a mystery really.
Both can produce some of the most interesting and original scores Hollywood has seen. Although both seem to have been stereotyped into a few genres, both show signs of creativity which are seriously lacking from a number of other composers. Each one can produce one type of score on Monday, and do something radically different on Tuesday.quote:
My question to the board is when did memorability stop mattering when scoring a film. That has always been the special power of "the old timers."Sadly, it seems to be a state of the industry. To come back to Revell and Beltrami, both can easily produce very memorable tunes. But both are stuck scoring lame flicks that just don't deserve anything more than generic background noise.
It probably has something to do with scheduling. No doubt James Newton Howard could have come up with real themes for King Kong as opposed to the recurring motifs if given more time. But in the amount of time he had, he only managed some incomplete ideas. It's hard to do something really memorable for a horror score (except an end credits sequence maybe).Still, if you look really hard you can come up with a few memorable scores here and there. Nothing on the level of Nino Rota, Alfred Newman or Jerry Goldsmith. But one in a while, sometimes, sometimes stands out.
posted 02-09-2006 10:29 PM PT (US) Demetris Christodoulides
Standard Userer
Yeap, the score is awesome, can't wait to get the official score cd release.Check out some 18 minutes of it at: http://www.marcobeltrami.de/samples.php
posted 02-10-2006 06:25 AM PT (US) SEBULBA
Standard Userer
That sucks. I like to make cd covers for scores that have no release, and use pictures that are different than the usual posters, and that's the exact same picture I used for my cover I made. Only my title is a little different look.
posted 02-10-2006 09:49 AM PT (US) Al
Standard Userer
Glad to see this getting such a full release, but I can't help but say it: those track titles are lame.
posted 02-10-2006 10:03 AM PT (US) nuts_score
Standard Userer
quote:
Originally posted by Al:
Glad to see this getting such a full release, but I can't help but say it: those track titles are lame.Usually "The Belts" devises some interesting and contextual titles for his cues. I had sort of missed them on his last few releases but U:E looks to be a nice return to form for the Italian Stallion. Blade II still has some of the best titles I've heard.
posted 02-10-2006 07:08 PM PT (US) SBD
Standard Userer
quote:
Originally posted by Al:
Glad to see this getting such a full release, but I can't help but say it: those track titles are lame.Come on: "Marcus Trumpped", "William's Castle", "Kill Will 2". Those are a riot, like a lot of Beltrami track titles.
posted 02-11-2006 08:48 AM PT (US) Al
Standard Userer
Yeah, what is he doing writing film scores? Apparently he should be writing for Mad magazine.
posted 02-11-2006 10:53 AM PT (US) films1
Non-Standard Userer
quote:
Originally posted by Dinko:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by big steve:
[b]How he has gotten so popular is the greatest movie music mystery since Graeme Revell started to score every third film made?
<HR size=1></BLOCKQUOTE>
Not much of a mystery really.
Both can produce some of the most interesting and original scores Hollywood has seen. Although both seem to have been stereotyped into a few genres, both show signs of creativity which are seriously lacking from a number of other composers. Each one can produce one type of score on Monday, and do something radically different on Tuesday.<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>
My question to the board is when did memorability stop mattering when scoring a film. That has always been the special power of "the old timers."<HR size=1></BLOCKQUOTE>Sadly, it seems to be a state of the industry. To come back to Revell and Beltrami, both can easily produce very memorable tunes. But both are stuck scoring lame flicks that just don't deserve anything more than generic background noise.
It probably has something to do with scheduling. No doubt James Newton Howard could have come up with real themes for King Kong as opposed to the recurring motifs if given more time. But in the amount of time he had, he only managed some incomplete ideas. It's hard to do something really memorable for a horror score (except an end credits sequence maybe).Still, if you look really hard you can come up with a few memorable scores here and there. Nothing on the level of Nino Rota, Alfred Newman or Jerry Goldsmith. But one in a while, sometimes, sometimes stands out.[/B]
Marco Beltrami has done some good stuff and is growing as a composer.
Graeme Revell on the other hand seems to churn out 'sound structures' which is not the most listenable on disc / or film .. I often question how Revell has remained in the forefront of the Hollywood composing machine..
posted 02-11-2006 11:10 AM PT (US) rkeaveney
Standard Userer
They're more amusing than stuff like:"A Dream Discarded" (wow, what pathos!)
Yawn!
Make 'em funny, amusing, and sly, please.
Ryan
posted 02-11-2006 11:12 AM PT (US) Al
Standard Userer
Yes, it's the fastest way to undermine one's own work. Perhaps Beltrami missed his calling as a joke writer, being so sly. I mean, "He Is My Sonshine" and "Mikey Doesn't Like It" are so subversive. William's Castle is clever, I'll give him that, but the rest: Yawn.
posted 02-11-2006 01:37 PM PT (US) Old Infopop Software by UBB