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Guess a sessions leak of a score that was already 90 minutes long on the original album isn't worth getting super excited for...Is it me or does the main theme sound a lot like Hannibal? No doubt Zanelli’s stamp on the score...Hybrid, did Zimmer composed any of the music in the second trailer? <br><br>Interesting that nobody's mentioned the sessions leak. Pretty sure I posted a cue list but it must have been deleted.@mephariel<br>None of the styles work for me really. Most of the score comes across as a pastiche of ideas from other Zimmer scores where they were better developed (Gladiator, The Rock, Crimson Tide, etc.) and Even the action is kind of hit or miss. I just don’t find it to be an interesting score honestly.
@kiki: delete inferno for me aswell......and a very good solo Balfe cue, at that. That theme and Hans' Moriarty theme are the most engaging ideas of these movies, to me. <br><br>Hey, while I'm here, any word on Hans doing the third movie?i would delete Dunkirk immediately from that library. That's the WORST score ever written from any composer out there. This isn't even a score or film music. Just pure sound effects.No, "Psychological Recovery" is scored to picture, a bunch of cues put together from the climax of the film. IIRC the first three minutes or so are a solo Balfe cue actually.Nope, not a suite, a mix of about 4/5 cues.
M:I2 is definitely a polarizing score. But I have to say, this is the first time I heard the criticism stylistically bland refer to this score. Because for most people who dislike the score, they think the score is too stylish.love this score. hasn't grown on me. was listening to it on my commute today. do you guys know if the track "psychological recovery" is the "suite" that came first. and then other cues developed from it? thanksEven then, I feel like its still irrelevant to post the titles for it does us no good and it will be posted here eventually. But whatever I guessJust realized I’ve been calling the movie “Windows” instead of “Widows”. <br>Ugh it’s been a long day -_-Just took a look at the trailer and am really impressed with how the film looks, not what I was expecting at all. I honestly don’t know what approach Zimmer will take either, although if I had to guess probably more sound design-ish.<br><br>And outside of “Injection” and “Bare Island” I find MI2 to be bland and all over the place stylistically. Just my opinion though, I know a lot of people love that score ;-)
mpolonest123, have you seen the trailer for Widows? Zimmer created the music for that trailer and I assume it came from the movie. If that is the case, it will sound nothing like TTRL.M:I2 is a blast to listen to. I just have a hard time imagine it to be a MI score. But it is one of the most fun scores from Zimmer.And as far Zimmer scores that I don’t like for the most part, there is a small handful (Madagascar, MI2, etc.)That’s completely fair, and I honestly couldn’t defend this score and be genuine about it. I think it does help that I love this movie (despite being hard to watch) and have come to associate the music with it so much. Still, I can’t lie that I find portions of it to be incredibly effective, even when the music does become solely ambient. In terms of listenability/originality the best cue is, ironically, the 24-second “Washington” cue.<br><br>I would kill to know what Zimmer personally thinks of this score. I’m sure he had a great working relationship with Steve, hence him working on “Windows”, but I’m sure the temptrack must have been murder on his creativity...This is my least favorite Zimmer score, actually. Or else the one that I feel has the least going for it; I guess it doesn't make me mad like On Stranger Tides, but at the same time it lacks anything even remotely compelling. "Boat Trip to New Orleans" is the only halfway interesting cue and even then I don't really like to listen to it much. The experimental parts aren't interesting experiments (ooh...clapping...wow), and the Journey to the Line stuff is just tired and bland (on top of being super derivative). I get that it works in the movie or whatever but if I had a gun to my head with orders to delete one Hans score from my library and never listen to it again, I'm pretty sure this would be the one I'd go for.
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Marc Streitenfeld
Composer
Poltergeist
Label: Sony Masterworks
Length: 43'41
HZimmer.com rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (3376 votes)
  1. Poltergeist Opening (1:39)
  2. They're Here (2:02)
  3. Angry Spirits (1:37)
  4. Electronics Awakening (1:45)
  5. They're Not Pretend, Mommy (1:24)
  6. The Storm Is Coming (1:17)
  7. Clown Attack (2:43)
  8. Into The Closet (2:06)
  9. Maddy Is On TV (3:18)
  10. You Have To Get My Sister Back (1:21)
  11. A Poltergeist Intrusion (2:16)
  12. Home Improvements (3:31)
  13. Somebody Is With Her (1:47)
  14. Take A Peek (2:12)
  15. I Feel A Little Braver (0:56)
  16. Into The Portal (2:06)
  17. The Other Side (2:46)
  18. Reunited (1:26)
  19. Let Her Go (4:32)
  20. Home Free (2:57)
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trent easton navarro reply Replies: 0 || 2015-05-10 11:04:30
Listened to the samples on Amazon. Lots of ambient filler that's all the hype in horror scoring these days, but there's also plenty of interesting things going on.

It will never be a classis like Goldsmith's, but it seems to be a very solid score

Edmund Meinerts reply Replies: 1 || 2015-04-16 10:43:57
I wish Gil Kenan had stuck with Andrew Lockington on this one. Massively talented composer.


trent easton navarro2015-04-18 08:33:44
Agreed, Lockington is great. In all fairness, Streitenfeld is getting better with each score, so maybe he'll surprise us. Although the Goldsmith fan in me, expects to be disappointed with this one

Jay the Dinosaur reply Replies: 0 || 2015-04-16 01:31:23
This shall be interesting to see how this one turns out. :)

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Poltergeist soundtrack - Marc Streitenfeld 2015