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In recent years, film scores have been following a certain trend.
Composers seem to have this motif of creating overblown pieces
(particularly in action films) with horns blasting out from the blue and
background stings creating suspense with their melodies. It was most
likely when the Christopher Nolan film Inception came out in 2010
when that fad started to settle in people’s minds as it quite literally
blasted us with its overblown nature with its film score. Sure it was
fun for a while, but within that little span of time listeners were just
begging for it to stop because composers had this knack for just
creating this style just for the hell of it. And Hans Zimmer was pretty
much the center of it all, especially considering the fact that he did
the score for Inception.
So one would think that a Hans Zimmer score would equal a completely overblown barrage of blasting horns and pretentious amounts of string melodies, right? In a surprising manner, the answer is no, or at least in this occasion. For the most part, his material of Interstellar (another Christopher Nolan film I might add) is actually toned down a lot compared to the other scores he’s produced. Now granted, Interstellar does take place in space, and so one would expect it to have a more ambient tone. Most likely similar to that of something like Steven Price’s score for Gravity. That being said, Gravity was a thriller, so the over-the-top nature that the score had was more or less acceptable. Interstellar on the other hand is a dramatic film, so a more subtle and subdued mood would be a more obvious choice.
Zimmer would’ve been more or less a last choice for a film such as this, since he’s been recognized from action films. However, not only is this Hans Zimmer’s best film score in years, but it’s quite possibly one of the best musical scores to come out since the beginning of the decade. Sure it does have it that typical over-dramatic feel to it in certain moments. But those are only moments, not entire songs, when that happens. Most of this album is soothing, subtle, relaxing, and sometimes uncomfortable. And when those horns create those typical blasts that most people will recognize, it actually works the way it’s supposed to. Songs like “Mountains” and “Coward” build up suspense ever so perfectly and then when they reach their well-placed church organ filled climax you’re left of the edge of your seat throughout. “Coward” especially manages to succeed in this more than any other song in the record, as the those small little beats sound like a clock, ticking down the time towards the climax while the rest of the instruments build up the suspense more and more and ever so slowly; practically to the point of being rather creepy (most likely helped by the organ). Then you have songs like “Running Out” and “Dust” that are subdued and laid-back yet they have a very sinister feel to them that just leaves you in a rather uncomfortable state.
But the score is at its most beautiful during the melodies. “Stay” and “Where We’re Going” create such a subtle yet powerful tone to the album that it feels almost dreamlike. It feels free, broad, open and spacious, as if you’re actually in space. Even the quiet moments such as in “Message From Home” create this phenomenal aspect of creating an emotional experience that flows freely among itself and it just leaves you in such awestruck wonder. I can’t find any other soundtrack that manages to capture the beauty and magnificent imagination that the film managed to bring as much as this one.
To put it in a precise manner, Interstellar is one of the most intriguing, ambitious, and incredible film scores in years, and easily one of Hans Zimmer’s best records in years. Using the emotional tone that it sets for itself as well as its climactic moments to its advantage, this record manages to engage the audience in a manner that one wouldn’t expect, and it succeeds in detaching away from the standard film score clichés that one would expect from a film like Interstellar. What else could I say, it’s just down right amazing.
This Japanese anime is set in a make-believe future in which humans have been forced to live in isolated underground villages, where they constantly must burrow deeper into the Earth to escape the frequent earthquakes that wreak havoc on their way of life. In this world, two orphans named Simon and Kamina resolve to find a way to dig their way back to the surface, where they hope to make peace with the Beastmen and their robots who terrorize their human prey.
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Recently a user called Jim who goes under the name iterate aristrocat on YouTube has left the gamer gate under the pre tense of the direction of the movement changing from his own personal intent. To give some context Jim was the most prominent personality in gamer gate his videos discussing Zoe Quinn, Kotaku, Gawker, journalistic ethics reached millions. He was the most prominent figure not just in terms of the number of people he reached but in his completely un-filtered approach. He was one of the many sources of information I’ve come across for this gamer gate...
We all know that the X-Men franchise had a bumpy road after X-2 director, Bryan Singer, left the series to do Superman Returns. With a third installment green-lit by Fox, the director’s seat was taken up by Brett Ratner after Matthew Vaughn refused the offer. With two successful installments, everyone was excited for the third one. And boy, was it a big letdown! While X-Men 3: The Last Stand was successful at the box office, it received negative reception from fans, who felt the film was unsatisfying and didn’t do the Phoenix Saga justice. However, when X-Men: First Class was released, the fans started to get interested in the series again. It breathed new life into what many considered to be a dead franchise. But, despite very positive reviews and good box office numbers, a new problem had risen. The film had continuity errors that went against a certain scene in X-Men 3, one that fans were really confused about. X-Men 3 shows a flashback sequence of a walking Professor X in the 1980s, going with Magneto, who he is still friends with, to see Jean Grey. But in the X-Men: First Class prequel, we see how Professor X loses his ability to walk and how his friendship with Magneto fell apart, both of which happens in the 1960s. So, yeah, you can see why this is very confusing. Everyone tried to wrap their heads around it, but nothing made sense. That was until Bryan Singer, the director of the first two X-Men films, made a return to the series and decided to adapt the ‘Days of Future Past’ story-arc . But this director wasn’t just on a mission to help redeem the franchise he helped create, he was on an impossible mission to erase its mistakes. Bringing together almost every cast and character member from the old and new movies, Singer set out to create ‘X-Men: Days of Future Past’. And let me tell ya, when this movie was released during the summer of 2014, it was freaking amazing! Fans and critics alike praised the film for its refreshing story, acting, visuals, and return to what the first two movies were about. Even the ending is considered to be one of the best of all time. But not only that, Singer did exactly what he set out to do. He corrected all of the mistakes every made in the previous movies and brought a new refreshing feeling to the franchise.
Greetings, fellow movie buffs. Sodapopcorn here, getting around to a movie that I said I would eventually watch, as soon as it hit DVD and Blu-ray shelves. Before we get into that, though, a brief history lesson.
Hi TGWTG, and welcome to spectrum-pulse, where I take a deeper, more in-depth look into music, movies, art, and culture.
Today, in my 304th review, I finally talk about Liars' second stab at electronic music, this time with a darkwave twist....