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Watched the movie again, and... <br><br>"Bourne Remembers," the cue where he's on Wambosi's boat, is really very beautiful in an understated way. Identity and Supremacy really had the most emotion in them, musically, in my opinion. Ultimatum and Jason Bourne rely so much on the percussion / Bourne ostinato material that the emotive aspect of the music gets buried in the process.Yes, and the part played before that too.You mean when the best version of Wonder Woman's theme is heard?Lol :DTHIS!<br><br>Hope I'm playing the game like I'm supposed to. :P
THIS!Well, if the score was unoriginal, so was the film. Serviceable, at points entertaining, but taking things nowhere they haven't been before. Such a shame. It seemed like this "band reunion" of a film had all the right keys in place, but it was good at best and a dud at worst.Yes it's pretty much detailed, I'm catching up with all this, takes quite some time to handle each score lol...Well... it's a nice best-of lolWell, I can't pretend it doesn't hurt a tiny bit to see that my favorite cue of 2015 ("A Boy Who Could Fly") isn't by Powell and Powell alone. But at the same time, I was kind of afraid it would be much worse considering time was probably pretty short on this score. If you look at it that way it's quite impressive just how little help Powell gets. And I imagine an additional composer on a Powell score is much closer to being just an orchestrator/arranger than, say, an additional composer on a Zimmer score (but that could just be my bias shining through...).<br><br>Hybrid, do you have details for any other Powell scores since 2010? Other than KFP2 (and Ice Age 4 now since you put up the complete score page) we know hardly anything about that period of his career.
Well if this is reflective of the Director, then it seems to me Powell barely had anything to do with this...and when he did, he did bare minimum.<br><br>He must have phoned it in. In now way does this sound similar to the previous efforts, or Green Zone, for that matter. Not that I blame him, considering the drama.<br><br>I'm guessing this was Buckley's show more than Powell'sMargeson arranged them. He started working with Dario, then JP took over scoring. Matthew worked on many songs that didn't all end up in the film.I assume Dario Marionelli wrote those two songs he's credited for?Was this a split work, or did Powell and Buckley work on it together? It's pretty obvious either way who did what...Seeing the film today. Holding off any definitive judgements until then.
Powell is a genius. If the result is bad, Powell is the last person I would blame. Don't forget a score's first purpose is to complement the director's vision...Im gonna say it:<br><br>I dont know what Powell's deal is, but he phoned this in.<br><br>NO new themes AT ALL. How hard is it to just make ONE theme (maybe a theme for Bourne's Return or something), and then use it throughout to make the soundtrack stand out in its own way?<br><br>Instead we get a rehash...and a horrid one at that; it makes the score to Pirates 4 look better...At least Pirates 4 had a couple new themes in its rehashed material. <br><br><br>Each track that Powell has on this ost just leaves me wanting.<br><br>The final track just sounds like what?<br><br>Most if it comes off as filler. Pure filler. <br><br><br><br>Composers details !yesis it true, that rupert is also working on mel gibsons Hacksaw Ridge together with john debney?
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