Thursday, May 26, 2005
The Hitchhiker's Guide to the Galaxy on Bad Poetry
Vogon poetry is of course, the third worst in the universe. The second worst is that of the Asgoths of Crea. During a recitation by their poetmaster Grunthos the Flatulent of his poem "Ode to a Small Lump of Green Putty I Found in my Armpit One Midsummer Morning" four of his audience died of internal hemorrhaging and the president of the mid-galactic Arts Knobbling Council survived only by gnawing one of his own legs off. Grunthos was reported to have been "disappointed" by the poem's reception, and was about to embark on a reading of his 12-book epic entitled "My Favourite Bathtime Gurgles" when his own major intestine, in a desperate attempt to save humanity, leapt straight up through his neck and throttled his brain. The very worst poetry of all perished along with its creator, Paul Neil Milne Johnstone of Redbridge, in the destruction of the planet Earth. Vogon poetry is mild by comparison.
ABC Jeered
TV Guide recently jeered ABC for neglecting unwatched hit TV show, "EYES" during the sweeps month of May. I bet ABC's feeling pretty bad right now...
Saturday, May 21, 2005
John Williams' Music in the Movie
Commenting about where the music is in Revenge of the Sith is probably going to have spoilers.
"Revenge of the Sith:" It starts with the main title but with its usual fade-out music, then there's some new music that goes into the militaristic Force Theme as featured in the track and continues with the music from the track until Grievous' motif. It then goes into new music and tracked music. I don't really know where the last two minutes are used.
"Grievous and the Droids:" I heard about thirty seconds of music towards the end of the track, when Obi-Wan and Anakin are fighting Grievous in the ship's bridge. Where's the rest of this track?
"Grievous speaks to Lord Sidious:" Pretty intact up until Grievous' motif, the rest of the track is from the end of the movie where Padme's leaving for Mustafar.
"Anakin's Dream:" Intact in the movie.
"Palpatine's Teachings:" From all over the place: the beginnings from part of the opera scene, then goes into about 15 seconds of when Palpatine reveals himslef to be a Sith, then the part with the Imperial March hint and the Force Theme are from anakin facing the Jedi Council, and finishes with Obi-Wan meeting up with Bail and Yoda.
"General Grievous:" All cut up: Begins with Obi-Wan taking a boga and listening in on Grievous. Fragments of it are used during the chase and final battle between the two of them.
"Padme's Rumination:" First part is used as Anakin considers going to Palpatine. The second half, that sounds more foreboding, is used after Anakin and Palpatine have killed Mace Windu.
"Anakin's Betrayal:" Mainly used for when the Jedi are slaughtered. Sounded like it started from the middle of the track. I'm also sure that part of this track is used for when Anakin confronts Padme on Mustafar.
"Enter Vader:" Intact. It's featured when Lord Vader goes to Mustafar.
"Anakin's Dark Deeds:" It starts with Anakin killing the Separatists, then I can't tell if the middle is used, but the ending is used when Anakin's on the bridge/ledge.
"Anakin Vs. Obi-Wan:" Pretty intact expect for a few pauses in the film. The Imperial March music is used when Yoda confronts Palpatine.
"Battle of the Heroes:" A substantial amount of it is used when Obi-Wan and Anakin fight on the lava.
"Immolation Scene:" Intact.
"Birth of the Twins and Padme's Destiny:" Pretty intact, expect the track ends before the final rendition of the funeral music that actually covers Padme's funeral.
"A New Hope:" Some new music at the beginning.
"End Credits:" The whole Throne Room sequence is edited out.
"Revenge of the Sith:" It starts with the main title but with its usual fade-out music, then there's some new music that goes into the militaristic Force Theme as featured in the track and continues with the music from the track until Grievous' motif. It then goes into new music and tracked music. I don't really know where the last two minutes are used.
"Grievous and the Droids:" I heard about thirty seconds of music towards the end of the track, when Obi-Wan and Anakin are fighting Grievous in the ship's bridge. Where's the rest of this track?
"Grievous speaks to Lord Sidious:" Pretty intact up until Grievous' motif, the rest of the track is from the end of the movie where Padme's leaving for Mustafar.
"Anakin's Dream:" Intact in the movie.
"Palpatine's Teachings:" From all over the place: the beginnings from part of the opera scene, then goes into about 15 seconds of when Palpatine reveals himslef to be a Sith, then the part with the Imperial March hint and the Force Theme are from anakin facing the Jedi Council, and finishes with Obi-Wan meeting up with Bail and Yoda.
"General Grievous:" All cut up: Begins with Obi-Wan taking a boga and listening in on Grievous. Fragments of it are used during the chase and final battle between the two of them.
"Padme's Rumination:" First part is used as Anakin considers going to Palpatine. The second half, that sounds more foreboding, is used after Anakin and Palpatine have killed Mace Windu.
"Anakin's Betrayal:" Mainly used for when the Jedi are slaughtered. Sounded like it started from the middle of the track. I'm also sure that part of this track is used for when Anakin confronts Padme on Mustafar.
"Enter Vader:" Intact. It's featured when Lord Vader goes to Mustafar.
"Anakin's Dark Deeds:" It starts with Anakin killing the Separatists, then I can't tell if the middle is used, but the ending is used when Anakin's on the bridge/ledge.
"Anakin Vs. Obi-Wan:" Pretty intact expect for a few pauses in the film. The Imperial March music is used when Yoda confronts Palpatine.
"Battle of the Heroes:" A substantial amount of it is used when Obi-Wan and Anakin fight on the lava.
"Immolation Scene:" Intact.
"Birth of the Twins and Padme's Destiny:" Pretty intact, expect the track ends before the final rendition of the funeral music that actually covers Padme's funeral.
"A New Hope:" Some new music at the beginning.
"End Credits:" The whole Throne Room sequence is edited out.
Friday, May 20, 2005
5 Most Listened to Tracks
5. "Enter Lord Vader" Once you hear this in the movie, it will make total sense, and you'll have a new appreciation for it.
4. "The Immolation Scene" One of most emotional and well composed tracks on the score.
3. "Anakin Vs. Obi-Wan" Battle of the Heroes and the Imperial March. What else do you need?
2. "Anakin's Betrayal" Beautifully tragic and works so well in the movie that it'll make you cry your eyes out.
1. "Grievous and the Droids" Still my favorite track, despite hearing very little of it in the movie.
4. "The Immolation Scene" One of most emotional and well composed tracks on the score.
3. "Anakin Vs. Obi-Wan" Battle of the Heroes and the Imperial March. What else do you need?
2. "Anakin's Betrayal" Beautifully tragic and works so well in the movie that it'll make you cry your eyes out.
1. "Grievous and the Droids" Still my favorite track, despite hearing very little of it in the movie.
Thursday, May 12, 2005
CD Review: The Revenge of the Sith Part III
Many describe this soundtrack as a disappointment, but I believe that it's a matter of what your expectations were from the start. If you were expecting each track to be like "A New Hope" (crammed with old themes), then yes, you'll be disappointed with this score. My only expectation was that Williams would, like the previous movie, do something completely different than his previous score. And in that aspect, Williams did not disappoint.
Rather than relying heavily on themes, Williams took the much harder task of using more nonthematic music. His use of themes in the score, or at least the measily seventy minutes (out of rumored 140 minutes he wrote), are more subtle and fragmented. Again, this left fans without a score oozing the Imperial March and the Emperor's theme. I was personally happy just to hear him use the main theme (Luke's theme) in the actual score again. ("Grievous and the Droids" and "A New Hope")
Also, Revenge of the Sith presented Williams with a chance to try some new sounds, especially the ambient droning in "Palpatine's Teachings." Unfortunately, some of his cues sound similar to already existing scores, most notably "Padme's Ruminations" which is commonly compared to Hans Zimmer's "Gladiator." Some have even flat-out accused Williams of stealing from his contemporaries. While I find that unlikely, I believe that Williams, with less experience creating such sounds, just ended up creating music that was not up to his usual standards and therefore sound similar to other scores. (Either that or Lucas tracked the music over Williams' original music.)
This album is for us diehard music fans. Those who just gloss over it, expecting easy themes to recognize and enjoy, will not like this music. Williams has woven a complex web of music, and I enjoy listening to it, time and time again, picking up those little jems: hints and fragments of past themes. And while more new themes would have been nice, the Battle of the Heroes theme and Grievous' motif easily kick musical butt.
To sum up, Revenge of the Sith isn't a perfect score and barely contains any new themes. But it's still the best prequel score. Williams seems to have really pulled out all the stops in trying to create the best music for the last Star Wars movie. And here's the reason why I'm giving this an A: I have always found that the two previous prequels scores have sounded a little flat. That the orchestra just doesn't sound the same as in the original trilogy. But the Revenge of the Sith score is vibrant and has that energy I usually associate with John Williams. A
Rather than relying heavily on themes, Williams took the much harder task of using more nonthematic music. His use of themes in the score, or at least the measily seventy minutes (out of rumored 140 minutes he wrote), are more subtle and fragmented. Again, this left fans without a score oozing the Imperial March and the Emperor's theme. I was personally happy just to hear him use the main theme (Luke's theme) in the actual score again. ("Grievous and the Droids" and "A New Hope")
Also, Revenge of the Sith presented Williams with a chance to try some new sounds, especially the ambient droning in "Palpatine's Teachings." Unfortunately, some of his cues sound similar to already existing scores, most notably "Padme's Ruminations" which is commonly compared to Hans Zimmer's "Gladiator." Some have even flat-out accused Williams of stealing from his contemporaries. While I find that unlikely, I believe that Williams, with less experience creating such sounds, just ended up creating music that was not up to his usual standards and therefore sound similar to other scores. (Either that or Lucas tracked the music over Williams' original music.)
This album is for us diehard music fans. Those who just gloss over it, expecting easy themes to recognize and enjoy, will not like this music. Williams has woven a complex web of music, and I enjoy listening to it, time and time again, picking up those little jems: hints and fragments of past themes. And while more new themes would have been nice, the Battle of the Heroes theme and Grievous' motif easily kick musical butt.
To sum up, Revenge of the Sith isn't a perfect score and barely contains any new themes. But it's still the best prequel score. Williams seems to have really pulled out all the stops in trying to create the best music for the last Star Wars movie. And here's the reason why I'm giving this an A: I have always found that the two previous prequels scores have sounded a little flat. That the orchestra just doesn't sound the same as in the original trilogy. But the Revenge of the Sith score is vibrant and has that energy I usually associate with John Williams. A
Wednesday, May 11, 2005
Eyes No Show 2
The brilliant show, Eyes will not be on tonight. It will also not be on next week thanks to Alias' two hour finale. Is the show cancelled or is it getting pre-empted due to May sweeps? Only time will tell... One thing is for sure:
ABC sucks.
ABC sucks.
Sunday, May 08, 2005
CD Review: The Revenge of the Sith Part II
Here's the second half of my track by track analysis:
8. "Padme's Ruminations" (3:17): The other track that many people don't like. It starts with quiet synth sounds followed by wailling/moaning by a female vocalists, something akin to the finale from the last movie or Minority Report but not as good. I like the last minute or so when the orchestra joins in and creates some cool eeiry/menacing sounds. Overall, it's much too subdued for me to really sink my teeth into and enjoy. 5/10
9. "Anakin Vs. Obi-Wan" (3:57): Easily one of best tracks on the album. We're treated to samples of the "Battle of the Heroes" theme with interruptions from direct cues from the Empire Strikes Back duel music. (Mainly the Imperial March with a flourish from the Escape from Bespin cue.) It ends with a great use of the Force theme over chorus sounds. A great action cue that's more theme-oriented to keep old school fans happy. My only problem with the track (artistically speaking) is that up to this point, Williams has been very subtle with old themes, and it's a little jarring that all of the sudden there's a track that's blaring the Imperial March. Not that that's really such a bad thing. 9/10
10. "Anakin's Dark Deeds" (4:05): Opening quiet, this track contains more dramatic music backed by chorus while Anakin goes farther towards the dark side. The music is highly energized with its own motif that slowly builds into a grand overture. I'm curious to see how this track (and the next one) plays out in the movie. 7/10
11. "Enter Darth Vader" (4:14): Everyone's probably disappointed with this track because it's not four minutes of the Imperial March, me included, but with further listenings, it's really grown on me. It contains this upbeat march that persists through most of the track with some quiet undertones in-between. This march continues with a very militaristic tone that ends with a few bars of the Imperial March. The music climaxes with the Force theme and an all-too-brief snippet of the Emperor's theme, which is strangely enough its only appearance in the soundtrack. 8/10
12. "The Immolation Scene" (2:42): This is another favorite that grew on me. It begins with a very string-oriented elegy that's simple yet mournful. Horns pick up towards the end to create a very satisfying track. It's way too short though... Oh, well. 9/10
13. "Grievous Speaks to Lord Sidious" (2:49): This track is composed mainly of a upbeat fanfare. A chorus comes in at the end of it, and while it produces a good sound, the chorus seemed a little like overkill. The rest of the track seemed to be mainly quiet undertones except for a reinteration of the fanfare theme (or is it Grievous' motif?) and Across the Stars. While cool to listen to, it doesn't really add anything nor is it really that special of a track. 6/10
14. "The Birth of the Twins and Padme's Destiny" (3:37): The beginning of this track sounds very Harry Potterish. It also contains one of the only other thematic links to the other films: the funeral music from the Phantom Menace. (Is that a spoiler?) Anyway, the funeral theme is then repeated. The funeral theme really fits in with the overall emotional content of this score. 8/10
15. "A New Hope and End Credits" (13:06): "A New Hope" is wonderful yet short. It manages to perfectly flow from Leia's theme to Luke's theme and concludes with a full statement of the Force theme. The end credits, on the other hand, is a totally different matter. It's presented as Luke/main title theme, Leia's theme, Battle of the Heroes, Throne Room, variations on the Throne Room, and then back to the main theme. Unfortunately, at around 12 minutes long, the end credits just don't justify wasting that much space on this CD. Leia's theme and Battle of the Heroes are pretty identical to previous concert versions, and many transitions were awkward at best. I would have prefered an edited version with more music from the actually movie. A really disappointment compared to the end credits to Williams' last Potter film. "A New Hope" 10/10, End Credits 5/10 Average: 7.5/10
Next will be my conclusion to this review and final comments.
8. "Padme's Ruminations" (3:17): The other track that many people don't like. It starts with quiet synth sounds followed by wailling/moaning by a female vocalists, something akin to the finale from the last movie or Minority Report but not as good. I like the last minute or so when the orchestra joins in and creates some cool eeiry/menacing sounds. Overall, it's much too subdued for me to really sink my teeth into and enjoy. 5/10
9. "Anakin Vs. Obi-Wan" (3:57): Easily one of best tracks on the album. We're treated to samples of the "Battle of the Heroes" theme with interruptions from direct cues from the Empire Strikes Back duel music. (Mainly the Imperial March with a flourish from the Escape from Bespin cue.) It ends with a great use of the Force theme over chorus sounds. A great action cue that's more theme-oriented to keep old school fans happy. My only problem with the track (artistically speaking) is that up to this point, Williams has been very subtle with old themes, and it's a little jarring that all of the sudden there's a track that's blaring the Imperial March. Not that that's really such a bad thing. 9/10
10. "Anakin's Dark Deeds" (4:05): Opening quiet, this track contains more dramatic music backed by chorus while Anakin goes farther towards the dark side. The music is highly energized with its own motif that slowly builds into a grand overture. I'm curious to see how this track (and the next one) plays out in the movie. 7/10
11. "Enter Darth Vader" (4:14): Everyone's probably disappointed with this track because it's not four minutes of the Imperial March, me included, but with further listenings, it's really grown on me. It contains this upbeat march that persists through most of the track with some quiet undertones in-between. This march continues with a very militaristic tone that ends with a few bars of the Imperial March. The music climaxes with the Force theme and an all-too-brief snippet of the Emperor's theme, which is strangely enough its only appearance in the soundtrack. 8/10
12. "The Immolation Scene" (2:42): This is another favorite that grew on me. It begins with a very string-oriented elegy that's simple yet mournful. Horns pick up towards the end to create a very satisfying track. It's way too short though... Oh, well. 9/10
13. "Grievous Speaks to Lord Sidious" (2:49): This track is composed mainly of a upbeat fanfare. A chorus comes in at the end of it, and while it produces a good sound, the chorus seemed a little like overkill. The rest of the track seemed to be mainly quiet undertones except for a reinteration of the fanfare theme (or is it Grievous' motif?) and Across the Stars. While cool to listen to, it doesn't really add anything nor is it really that special of a track. 6/10
14. "The Birth of the Twins and Padme's Destiny" (3:37): The beginning of this track sounds very Harry Potterish. It also contains one of the only other thematic links to the other films: the funeral music from the Phantom Menace. (Is that a spoiler?) Anyway, the funeral theme is then repeated. The funeral theme really fits in with the overall emotional content of this score. 8/10
15. "A New Hope and End Credits" (13:06): "A New Hope" is wonderful yet short. It manages to perfectly flow from Leia's theme to Luke's theme and concludes with a full statement of the Force theme. The end credits, on the other hand, is a totally different matter. It's presented as Luke/main title theme, Leia's theme, Battle of the Heroes, Throne Room, variations on the Throne Room, and then back to the main theme. Unfortunately, at around 12 minutes long, the end credits just don't justify wasting that much space on this CD. Leia's theme and Battle of the Heroes are pretty identical to previous concert versions, and many transitions were awkward at best. I would have prefered an edited version with more music from the actually movie. A really disappointment compared to the end credits to Williams' last Potter film. "A New Hope" 10/10, End Credits 5/10 Average: 7.5/10
Next will be my conclusion to this review and final comments.
Saturday, May 07, 2005
CD Review: The Revenge of the Sith
Well, since this is the last Star Wars soundtrack, i thought I'd do something different and do a track-by-track analysis. Here it is:
1. "Star Wars and the Revenge of the Sith" (7:31): It opens with the traditional main title theme, supposedly the same one used in Phantom Menace and not a new recording. Then before it does its usual fade-out, the orchestral explodes into a rousing action cue that dominates the rest of the track. An energized version of the Force theme appears early into the track. I could swear that from time to time I could hear the fragments of the droid army theme or at least the arena/ pseudo-droid army theme. Listen for the miltaristic snare drum. It will also be used on later tracks like "Enter Lord Vader" and "Grievous and the Droids." A great example of "modern" Williams-style action cue and one of the best action cues from the prequels. 10/10
2. "Anakin's Dream" (4:46): This track is one of the only cues containing Across the Stars from the previous movie. It's beautifully rendered with stings at the beginning, leaving a more conventional version later on. There's also a quiet hint of the Force Theme. 7/10
3. "Battle of the Heroes" (3:42): Considered the "single" of the album and the only new major theme. I really hope that this is actually scoring part of the final duel rather than just a concert piece. I'm still convinced that the theme is a clever reworking of the Duel of Fates, but I lack the music background to support that. It's not as powerful as Duel nor as lyrical as Across the Stars but a very rousing piece none the less and the use of the Force theme over the chorus doesn't hurt. 7/10
4. "Anakin's Betrayal" (4:04): This track is very powerful especially when the chorus and the brass rise to an emotional peak. I read somewhere that it's a reworking on the Across the Stars, but I haven't heard it enough to make that connection yet. I've heard what sounds like fragments of the Force theme, but maybe that's from part of Across the Stars. The last minute or so is very haunting that slowly builds and then tapers off. 9/10
5. "General Grievous" (4:07): To a casual listener, this track may sound like a mess: just a jumble of percussion and brass, but upon closer listening, you can hear Williams weaving a satisfying action cue. Within it is what I believe to be the Grievous motif. (But more on that later.) The Force theme also briefly appears at the beginning in a low, almost dissonant tone. About a minute and half into it, it starts reminding me of Jurassic Park music. Those who aren't a fan of prequel non-thematic music will probably not like this. I love it. 8/10
6. "Palpatine's Teachings" (5:25): One of the two least liked tracks on album by most Internet reviewers. It starts off with about 90 seconds of low moaning, which I love because of my own love of ambient-techno-sounds and am glad to hear Williams going for a new sound. As the orchestral starts to join in, we can hear a brief cue from Darth Vader's theme and a slightly longer statement of the Force theme. The music sort of lingers until the end: a reprise of the approach to Naboo from the Phantom Menace. I like the beginning; I like the end; but the middle could do with some work. 6/10
7. "Grievous and the Droids" (3:28): This is one of my favorite tracks on the album. It begins with a great use of brass that quiets down very quickly. We then catch the briefest of hints of Luke's theme before the action music kicks back in. The deep brass puctuate what I believe is the Grievous motif. It persists until the end of the cue with another quiet rendition of the Force theme. I can't wait to see what part of the movie this is from. (I'm hoping the final battle between Obi-Wan and Grievous) 10/10
Well, this is about half of the album. I'll be back soon with what I think about the second half.
1. "Star Wars and the Revenge of the Sith" (7:31): It opens with the traditional main title theme, supposedly the same one used in Phantom Menace and not a new recording. Then before it does its usual fade-out, the orchestral explodes into a rousing action cue that dominates the rest of the track. An energized version of the Force theme appears early into the track. I could swear that from time to time I could hear the fragments of the droid army theme or at least the arena/ pseudo-droid army theme. Listen for the miltaristic snare drum. It will also be used on later tracks like "Enter Lord Vader" and "Grievous and the Droids." A great example of "modern" Williams-style action cue and one of the best action cues from the prequels. 10/10
2. "Anakin's Dream" (4:46): This track is one of the only cues containing Across the Stars from the previous movie. It's beautifully rendered with stings at the beginning, leaving a more conventional version later on. There's also a quiet hint of the Force Theme. 7/10
3. "Battle of the Heroes" (3:42): Considered the "single" of the album and the only new major theme. I really hope that this is actually scoring part of the final duel rather than just a concert piece. I'm still convinced that the theme is a clever reworking of the Duel of Fates, but I lack the music background to support that. It's not as powerful as Duel nor as lyrical as Across the Stars but a very rousing piece none the less and the use of the Force theme over the chorus doesn't hurt. 7/10
4. "Anakin's Betrayal" (4:04): This track is very powerful especially when the chorus and the brass rise to an emotional peak. I read somewhere that it's a reworking on the Across the Stars, but I haven't heard it enough to make that connection yet. I've heard what sounds like fragments of the Force theme, but maybe that's from part of Across the Stars. The last minute or so is very haunting that slowly builds and then tapers off. 9/10
5. "General Grievous" (4:07): To a casual listener, this track may sound like a mess: just a jumble of percussion and brass, but upon closer listening, you can hear Williams weaving a satisfying action cue. Within it is what I believe to be the Grievous motif. (But more on that later.) The Force theme also briefly appears at the beginning in a low, almost dissonant tone. About a minute and half into it, it starts reminding me of Jurassic Park music. Those who aren't a fan of prequel non-thematic music will probably not like this. I love it. 8/10
6. "Palpatine's Teachings" (5:25): One of the two least liked tracks on album by most Internet reviewers. It starts off with about 90 seconds of low moaning, which I love because of my own love of ambient-techno-sounds and am glad to hear Williams going for a new sound. As the orchestral starts to join in, we can hear a brief cue from Darth Vader's theme and a slightly longer statement of the Force theme. The music sort of lingers until the end: a reprise of the approach to Naboo from the Phantom Menace. I like the beginning; I like the end; but the middle could do with some work. 6/10
7. "Grievous and the Droids" (3:28): This is one of my favorite tracks on the album. It begins with a great use of brass that quiets down very quickly. We then catch the briefest of hints of Luke's theme before the action music kicks back in. The deep brass puctuate what I believe is the Grievous motif. It persists until the end of the cue with another quiet rendition of the Force theme. I can't wait to see what part of the movie this is from. (I'm hoping the final battle between Obi-Wan and Grievous) 10/10
Well, this is about half of the album. I'll be back soon with what I think about the second half.
Movie Review: Kingdom of Heaven
Ridley Scott's newest film depicts the Crusades through the eyes of Balian (Orlando Bloom), son of Godfrey (Liam Neeson), who goes onto to Jerusalem looking for redemption for himself and forgiveness for his wife who committed suicide. There, he finds the court divided between the Marshall Tiberias (Jeremy Irons) who wants to promote peace between the Christians and the Islamic and the fanatic Templars who feel only Christians are worthy of living in Jerusalem. Soon, the Templars prevoke a war with the Islamic and it's up to Balian to protect Jerusalem from the massive army arriving.
I was surprised how well Orlando Bloom worked in the role, this being one of his first leading roles. On the other hand, I was disappointed that Liam Neeson pulled a Terrance Stamp by only appearing in the first twenty minutes of the movie. Jeremy Irons and David Thewlis were also impressive. So was Scott's decision to use Muslin actors to protray, you know, Muslims!
According to an A&E special, most of the story actually follows what actually happened historically. The movie also carefully depicts both sides, Christianity and Islam, and how there were both good and bad people on BOTH sides. The only real problem can from one Christian priest during the big battle at the end who seemed very cowardly and, well, unChristian-like almost to the point of becoming the comedic relief. Reynald and Guy de Lusignan seemed at times to hover on the edge of becoming full-blown two dimensional stereotypical villains that everyone hisses at.
Also, the love story aspect seems to be pretty neglected at times, favoring the historical/political maneuverings and the massive battles over Orlando Bloom and Eva Green smooching.
Ridley Scott is still great at creating mood and atmosphere, even if it's ambient synthesizer music during Medieval Times. His slow-mo "gut-and-splash" style is pretty much what he did with Gladiator. Speaking of... Some critics will eagerly point out the similarities, both stylistically and story-wise, between the two movies.
I enjoyed this movie, which lets you draw your own conclusions in the matters of war and religion. B
I was surprised how well Orlando Bloom worked in the role, this being one of his first leading roles. On the other hand, I was disappointed that Liam Neeson pulled a Terrance Stamp by only appearing in the first twenty minutes of the movie. Jeremy Irons and David Thewlis were also impressive. So was Scott's decision to use Muslin actors to protray, you know, Muslims!
According to an A&E special, most of the story actually follows what actually happened historically. The movie also carefully depicts both sides, Christianity and Islam, and how there were both good and bad people on BOTH sides. The only real problem can from one Christian priest during the big battle at the end who seemed very cowardly and, well, unChristian-like almost to the point of becoming the comedic relief. Reynald and Guy de Lusignan seemed at times to hover on the edge of becoming full-blown two dimensional stereotypical villains that everyone hisses at.
Also, the love story aspect seems to be pretty neglected at times, favoring the historical/political maneuverings and the massive battles over Orlando Bloom and Eva Green smooching.
Ridley Scott is still great at creating mood and atmosphere, even if it's ambient synthesizer music during Medieval Times. His slow-mo "gut-and-splash" style is pretty much what he did with Gladiator. Speaking of... Some critics will eagerly point out the similarities, both stylistically and story-wise, between the two movies.
I enjoyed this movie, which lets you draw your own conclusions in the matters of war and religion. B
Thursday, May 05, 2005
Star Wars Soundtrack Out
The newest (and last) Star Wars soundtrack was released on Tuesday. It includes a 70 minute CD plus an additional DVD entitled "Star Wars: A Musical Journey." I'll be reviewing it later this week or next, but there's plenty of reviews out already if you're curious. I'm sure John Williams has done another superb job.
Eyes No Show
"EYES" was pre-empted yesterday for a lame expo on American Idol. Who didn't already know that the show was rigged?
Sunday, May 01, 2005
Correct Track Listing for Episode 2
Here is how the soundtrack should have been labeled:
01. Main Titles/Kamino Storm/Arrival at Kamino
02. Across the Stars
03. Zam the Assassin/ Chase through Coruscant
04. Forbidden Love/Yoda and the Younglings
05. Departing Coruscant
06. Anakin and Padme
07. Jango's Escape/Return to Tatooine
08. Meadow Picnic/Dark Mysteries
09. Bounty Hunter's Pursuit/ Clone Army Revealed
10. Lars Homestead/ Search Montage
11. Tusken Camp/ Bringing Mother Home
12. Love Pledge/The Arena/Going After Dooku
13. Lord Tyranus Returns/Finale
14. On the Conveyor Belt (Bonus Track on Limited Edition)
01. Main Titles/Kamino Storm/Arrival at Kamino
02. Across the Stars
03. Zam the Assassin/ Chase through Coruscant
04. Forbidden Love/Yoda and the Younglings
05. Departing Coruscant
06. Anakin and Padme
07. Jango's Escape/Return to Tatooine
08. Meadow Picnic/Dark Mysteries
09. Bounty Hunter's Pursuit/ Clone Army Revealed
10. Lars Homestead/ Search Montage
11. Tusken Camp/ Bringing Mother Home
12. Love Pledge/The Arena/Going After Dooku
13. Lord Tyranus Returns/Finale
14. On the Conveyor Belt (Bonus Track on Limited Edition)
CD Review: Attack of the Clones
John Williams's take on Episode 2 was totally different from the previous film, Phantom Menace. Replacing the vibrant yet shallow theme-oriented pieces is more a minimlistic score.
The main title starts off the album followed by one of my favorite motifs, that of Kamino. This is followed by a concert version of the only new theme in the movie, Across the Stars. This melodic and haunting theme is what I've been expecting from Williams and what he failed to produce in the Phantom Menace: a truly emotional piece that lives up to the Star Wars tradition.
Many of the older themes (the Force theme, Yoda's theme, Imperial March) are present as well as the ones from the first movie. (Duel of the Fates, Droid army theme, Anakin's theme) The use of the themes from Phantom Menace create a sense of continunity between the two films.
I personally liked to focus on three best tracks on the album, which make this CD a must. (Besides the Across the Stars suite, of course.)
First is the Chase Through Coruscant. This seven plus minutes action cue is a prime example of WIlliams's minimlistic efforts in the film. The piece is percussion-oriented with no major motif presented within it. It shows how much Williams' style has changed over the years since the days of "Asteroid Field" and "Here They Come." There is also a hint of electric guitar, just enough to anger hardcore fans and thrill fans like me who like their composers to experiment with new sounds.
Next is the eight minute cue "Love Pledge and the Arena." The music starts with a wonderful flair of Across the Stars, as Anakin and Padme declare their love. This is followed by a miltaristic motif, a re-working of the droid army theme, which dominates most of the Arena music. Lastly, the lengthly cues ends with more snippets of the love theme and the Force theme.
But neither of them hold a candle to the last track. It starts with a flurish of the Force theme and then switches into a haunting theme performed by a female vocalist. The music then builds up into full-blown fanfare of the Imperial March right before flowing into another touching rendition of Across the Stars. All of this finished off with the main Star Wars theme as the end crdits roll.
Most of the other tracks are softer pieces which include either Across the Stars or the Force theme. Jango's Escape and Bounty Hunter's Pursuit are average action cues, but pretty bland when compared to some more exciting cues Williams produced from Minority Report.
This would be a perfect score if it wasn't for the way it was treated. George Lucas had chopped it up in the movie. He took out the Arena music, and tracked most of action music for the Battle of Genosis finale from Phantom Menace. The soundtrack itself has many mislabeled tracks.
Overall, a great improvment, in my opinion, from Phantom Menace. It sounds more like a good and proper Star Wars soundtrack. Unfortunately, there is no "Ultimate" version of this soundtrack which is a shame because it deserves a proper treatment. B+
The main title starts off the album followed by one of my favorite motifs, that of Kamino. This is followed by a concert version of the only new theme in the movie, Across the Stars. This melodic and haunting theme is what I've been expecting from Williams and what he failed to produce in the Phantom Menace: a truly emotional piece that lives up to the Star Wars tradition.
Many of the older themes (the Force theme, Yoda's theme, Imperial March) are present as well as the ones from the first movie. (Duel of the Fates, Droid army theme, Anakin's theme) The use of the themes from Phantom Menace create a sense of continunity between the two films.
I personally liked to focus on three best tracks on the album, which make this CD a must. (Besides the Across the Stars suite, of course.)
First is the Chase Through Coruscant. This seven plus minutes action cue is a prime example of WIlliams's minimlistic efforts in the film. The piece is percussion-oriented with no major motif presented within it. It shows how much Williams' style has changed over the years since the days of "Asteroid Field" and "Here They Come." There is also a hint of electric guitar, just enough to anger hardcore fans and thrill fans like me who like their composers to experiment with new sounds.
Next is the eight minute cue "Love Pledge and the Arena." The music starts with a wonderful flair of Across the Stars, as Anakin and Padme declare their love. This is followed by a miltaristic motif, a re-working of the droid army theme, which dominates most of the Arena music. Lastly, the lengthly cues ends with more snippets of the love theme and the Force theme.
But neither of them hold a candle to the last track. It starts with a flurish of the Force theme and then switches into a haunting theme performed by a female vocalist. The music then builds up into full-blown fanfare of the Imperial March right before flowing into another touching rendition of Across the Stars. All of this finished off with the main Star Wars theme as the end crdits roll.
Most of the other tracks are softer pieces which include either Across the Stars or the Force theme. Jango's Escape and Bounty Hunter's Pursuit are average action cues, but pretty bland when compared to some more exciting cues Williams produced from Minority Report.
This would be a perfect score if it wasn't for the way it was treated. George Lucas had chopped it up in the movie. He took out the Arena music, and tracked most of action music for the Battle of Genosis finale from Phantom Menace. The soundtrack itself has many mislabeled tracks.
Overall, a great improvment, in my opinion, from Phantom Menace. It sounds more like a good and proper Star Wars soundtrack. Unfortunately, there is no "Ultimate" version of this soundtrack which is a shame because it deserves a proper treatment. B+
More Ultraman Max Info
Ultraman Lah has posted more info on the new series, Ultraman Max, including images from Team DASH's (Defense Action Squad Heroes) vehicles, crew, and emblem. Go to their features section to check some scans magazine pictures of the new Ultraman and his deunamist, Kaito Touma. This series looks like it will please many die-hard fans. Not only will the series have many classic kaiju, but also this Ultraman will hail from the well-known M-78 nebula that the original Ultramen originated from.
In Nexus news, there seems to be a new villain, Dark Mephisto Zwei to appear on the show to battle Nexus Blue. (and the other Dark Mephisto?) There's also a Playstation 2 game of Ultraman Nexus coming out. Those lucky buggers...
In Nexus news, there seems to be a new villain, Dark Mephisto Zwei to appear on the show to battle Nexus Blue. (and the other Dark Mephisto?) There's also a Playstation 2 game of Ultraman Nexus coming out. Those lucky buggers...
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