On another note, Sean called me out on my hypocrasy earlier this evening because we've had some discussions on Ottman and a little indie called Superman Returns he's scoring (and editing). I'm not a big Ottman fan at all and apparently I remarked that John hasn't written a single note that I've been impressed by (that's right, not even The Usual Suspects, Apt Pupil or House of Wax or X2); but old Sean was quick on his heels to remind me of the unanimous praise I showered upon his fun Fantastic Four score last summer. My apologies.

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Originally posted by gkgyver:
Don't get all hyped up over this ... I can't hear the "WOW" in there, to be honest.

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That's just an opinion of yours that you don't share with the rest of us who posted here. Your loss.

sd

and WOWs aside, this score Rocks, I cant wait.
he he he, I just love this stuff.

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Originally posted by gkgyver:
Don't get all hyped up over this ... I can't hear the "WOW" in there, to be honest.

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Originally posted by Dinko:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by gkgyver:
[b]Don't get all hyped up over this ... I can't hear the "WOW" in there, to be honest. <HR size=1></BLOCKQUOTE>

Here's an old theory: everything else this year sucked so much, that what's probably a very decent film score is now proclaimed the best thing to hit humanity since the wheel.[/B]

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Hereīs a new theory: I donīt know if it will be the best thing to hit humanity since the wheel but this score is far more than decent IMHO....this score is BIG; if you have enjoyed the clips, then be ready, sit comfortably and, above all, pump up the volume ītil your neighbours call the police.
Itīs for sure Powellīs biggest effort: powerful, brassy, epic, big themes, amazing choral work. At least Powell has unleashed (all?) his power. Congratulations!

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Originally posted by gkgyver:
Did I say otherwise?

But thanks for the irrelevant wisecrack nevertheless.

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My pleasure.

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Originally posted by alan_manc:
Is it just me, or does Attack On Alcatraz sound like it should be from Superman Returns?? That rythm that opens it and continues through-out....

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Phoenix Rising is incredible.

Going to watch the movie this Thursday when it comes out in the Netherlands. I am excited to at least hear the new theme in conjunction with the movie.

So will Leech nullify Dark Phoenix' powers?
Is he actually the temporary cure to her all universe consuming power?
Is Jean Grey really dead and is it her funeral we see in the trailer? Or Beast?

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Originally posted by Foobsie:

Is Jean Grey really dead and is it her funeral we see in the trailer? Or Beast?

FoobsZ

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Or Professor X's.

For what its worth, it is the best of the series of films. It takes risks and isn't afraid to be dark and create the necessary dramatic tension necessary. It's also funny, action-packed, and quite a thrill ride. It's not as deliberately paced as Bryan Singer's films tend to be, but it is certainly satisfying in every way possible as a film. As an X-Men property, well, that's for the died in the wool X-Men fan to decide. And I will be eager to see their responses online.

And whatever you do when you see it, stay through the end credits. Don't ask me why, I hate spoilers and refuse to give anything away.

Also - everyone who speculated by way of the sample clips what the Powell "X-Men Theme" was or what any thematic material could be derived from those clips got it all wrong. I got the score and went to a free advance screening today (thanks to getting a pass by sheer luck last Saturday). What I can tell you is that the music is extremely powerful to me after what I saw. This is solid and uncomprimising entertainment to me; once it takes its chances, it doesn't apologize for them, as opposed to what I see in some other comic book franchise properties.

Excellent work all around.

Powell's score was equally great. Epic and propulsive, it really added a lot. There is one moment in the film where the X-Men theme is used to just thrilling effect. It reminded me of how exciting it was when Elfman's Batman theme was used the same way.

I'll spare the more specific details on that for now...but do make sure to see it Friday!

EDIT: Just for the record, I have next to no knowledge of the comic continuity, so personal experience may vary!

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Originally posted by nuts_score:
Hmmm, as a life-long X-Men fan, some of these positive reviews actually have me worried. I've read all of the script reviews from people who know the universe and know the continuity and I can't help but agree with them; there might be certain liberties taken with the franchise that will seriously dimish some fans' faith in how Marvel treats its properties from here out. I'll still have my ass in a seat come Friday and - as always - I'll hope for the best and keep in mind that this is an adaptation of source material, but the fanboy in me is worried (and worried about Superman too; Silver Age Clark/Supes needs to stay in the Silver Age, as a community we've moved past the notion that Clark has to be a bumbling idiot to take attention away from his alter-ego. And, Quentin Tarantino, Superman is Clark Kent; not the other way around. It is Clark who was raised by Jonathon and Martha Kent. They are the ones who taught him what it is to be good. Superman is his identity to protect the innocent; it's the resource-fulness of his powers. Kal-el is the last son of Krypton, and that's all. Clark Kent is the man and the hero.)

Sorry for nerd-inducing rant.

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The X-Men franchise so far has not been very faithful in many fundamental respects and ends up contradicting its own internal logic.

Just take Cyclops. Originally, he's supposed to be a good combat leader. Not exactly very bright, but good in action. In X-Men 1, he tells Storm to fry Magneto and Magneto gives him a sermon on how that can't be done.

Cyclops is still presented in the movies as a leader, but he doesn't do much, and what he does is always retarded. He reacts late, destroys stuff by mistake, etc.

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Originally posted by nuts_score:
And, Quentin Tarantino, Superman is Clark Kent; not the other way around. It is Clark who was raised by Jonathon and Martha Kent. They are the ones who taught him what it is to be good. Superman is his identity to protect the innocent; it's the resource-fulness of his powers. Kal-el is the last son of Krypton, and that's all. Clark Kent is the man and the hero.) Sorry for nerd-inducing rant.

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Yeah! Ever since that lame-o and inaccurate reference of Superman in Kill Bill, I was the only one who thought that Tarantino obviously didn't understand the character of Clark Kent. It's to finally realize that I'm not alone in that thought.

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Originally posted by nuts_score:
And, Quentin Tarantino, Superman is Clark Kent; not the other way around. It is Clark who was raised by Jonathon and Martha Kent. They are the ones who taught him what it is to be good. Superman is his identity to protect the innocent; it's the resource-fulness of his powers. Kal-el is the last son of Krypton, and that's all. Clark Kent is the man and the hero.) Sorry for nerd-inducing rant.

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Originally posted by Norman McCay:

Yeah! Ever since that lame-o and inaccurate reference of Superman in Kill Bill, I was the only one who thought that Tarantino obviously didn't understand the character of Clark Kent. It's to finally realize that I'm not alone in that thought.

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Don't worry Norman, there are others like us out there who take what Tarantino writes in his films with a grain of salt. He's the very definition of silly and pretentious filmmaking; along with Shyamalan. I'd like to see them both work outside of thier own boundaries using a script by a radically different writer (I'm thinking Tony Kushner for Tarantino and John Sayles for Shyamalan, or something along those lines) and a different genre. Maybe then, Tarantino can take a break from riffing other (vastly superior) films/directors and Shyamalan can take a rest from the "WHAT-A-TWIST!" formula.

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Originally posted by Camillu:
The house scene is scored brilliantly. Angel's theme is great too.

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I agree.

One thing is annoying about the CD though: It sounds like it was recorded out of phase or something. All instruments (except for the percussion) come from either the far left or the far right. Nothing in between. Particularly annoying on headphones.