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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.Even 5 years later, I’m still not sure how I feel about this score. <br><br>On one hand, the music complements the film extremely well. “Boat Trip to New Orleans” and “Soap” are both incredible in context, and even some of the more ambient cues are pretty effective. Alongside Interstellar probably Hans’ most minimilastic score, something which actually suits him well.<br><br>On the other hand, the Time/Journey to the Line temp is extremely blatant, and it definitely doesn’t help that 60% of the music used in film is basically a variation on that one idea (and some cues are purely sound effects). I still admire the score though, regardless of the familiarity issues.<br><br>With Windows coming out I’m very curious to see what approach will be. Personally, I like seeing Zimmer tackle a project with minimalism. Hopefully McQueen (who is a very talented director) doesn’t box Hans in with another TTRL temp... or any temp for that matter.
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Matthew Margeson
Composer
Truth Or Dare
Label: Back Lot Music (Digital Download Only)
Length: 39:07
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 (424 votes)
  1. I Don’t Want To Play (1:06)
  2. Spring Break Packing (0:53)
  3. The Game (1:57)
  4. Follow The Rules (0:52)
  5. Break Olivia’s Hand (3:15)
  6. Markie’s Dad (1:40)
  7. Tyson’s Interview (3:29)
  8. Rooftop Truth Or Dare (5:44)
  9. Intruder (3:13)
  10. Olivia & Lucas (2:14)
  11. Inez (4:04)
  12. Olivia’s Secret (3:34)
  13. Return To Mission (4:37)
  14. The Game Will Never End (2:31)
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Michael Fields reply Replies: 0 || 2018-08-09 13:29:03
MOVIE CREDITS:

Music By
MATTHEW MARGESON

Music Supervisor
SESSING MUSIC SERVICES

Music Editor
CATHERINE WILSON

Additional Music And Arrangements By
DANIEL JAMES
FABIO MARKS
JASON SOUDAH

Orchestra Conducted By
PETER PEJTSIK

Orchestra Recorded By
GABOR BUZCKO

Score Mixed By
ALAN MEYERSON

Score Mix Assistants
EVA REISTAD
DYLAN SHYKA

Score Technical Engineer
FABIO MARKS

Supervising Orchestrator
TIM DAVIES

Orchestrated By
JEREMY LEVY
JORDAN SIEGEL
SARAH LUTZ

Music Preparation
MARK CALLY

Orchestra Contractor
MIKLOS LUKACS

Librarian
ADRIENN LORINCZ

ProTools Engineer
MIKLOS LUKACS SR.

Score Recorded By
BUDAPEST ART ORCHESTRA
(EAST CONNECTION MUSIC RECORDING CO.)

Score Mixed At
REMOTE CONTROL PRODUCTIONS
SANTA MONICA, CA

Jack Afrogarrix 2018 reply Replies: 2 || 2018-04-15 15:15:57
Great Score from Matthew Margeson for his second horror film for blumhouse's Truth Or Dare directed by jeff Wadlow.
This score is very intense and keep you waiting for what Happened next.


MrZimmerFan2018-04-15 15:31:30
Bah, it was ok, nothing more.

I keeping listening Peter Rabbit, Rampage or Lost in Space


Edmund Meinerts2018-04-15 19:50:22
Afrogarrix has learned to not capitalize every single word in a sentence. Does this mean the machines are taking over??? I'm scared...

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Truth Or Dare soundtrack - Matthew Margeson 2018