BOT's TOP 100 Film Scores: The Threequel: COUNTDOWN COMPLETE! (#1 Page 36!)

[4815162342]

77.

 

Spoiler

 

Up (2009)

 

Original Music by Michael Giacchino

 

238 Points

 

2015 Placement: 38 (-39)

 

 

 

Michael Giacchino's third appearance on this list is the one he won an Oscar for. Giacchino and Pixar seem to be a good combo for this Countdown. For Up, Giacchino likened his use of motifs and themes to an opera, in that the theme for a character changes and adapts based on the dramatic situation at that point in the film. The central theme, Married Life, is the piece of music which, combined with the on-screen montage it first shows up in, broke the hearts of many BOM members and reduced them to blubbering teary messes in theaters.

 

 

[Ethan Hunt]

I guess

[WrathOfHan]

Yeah, Nocturnal Animals didn't make it  

[Jake Gittes]

 

21 minutes ago, 4815162342 said:

The score for the film is Zimmering done right. Aggressive, metallic, bombastic, energetic, relentless, but also more than just background noise or mish-mash. The film's music fits right in the film's general conceit of a 2-hour car chase, but correctly knows when to dial it back and allow for more quiet, cautious, and slow tension melodies.

 

Spot on. I thought it was one of the least remarkable elements of the movie on first viewing (aside from the immediately obvious ownage of Brothers in Arms and another couple of tracks) but it totally grew on me as a whole. Hopefully it gets even higher next time.

[4815162342]

76.
 

Spoiler

 

Once Upon a Time in America (1984)

Original Music by Ennio Morricone

244 Points

2015 Placement: 79 (+3)

 

 

 

Ennio Morricone shows up on this countdown for the first time this go-round. A frequent collaborator with Sergio Leone, Morricone's music evokes the bustle and gloom of Prohibition-era New York City, with wistful, romantic tunes gliding in and out around the core relationships of the movie. The film notably uses a pan flute in several key moments, at first indicating remembrance or playfulness, but then suddenly swerving into more dramatic tones as the story takes a turn. Morricone's music certainly helps the film's mammoth running time move by without much fuss.

 

 

[4815162342]

Some tidbits about the next five:

 

• A movie that was terrorized here for how it treated its source material
• 3 sequels, 2 of them 21st Century, 2 of them arguably better than their immediate predecessor
• A fitting movie for literally today

[Fancyarcher]

Much as I like Mad Max: Fury Road's scores, compared to May and Jarre's previous efforts, it comes off a bit short. Not a bad score, though. Brothers At Arms is a very powerful track. 

 

It's great to see Goldsmith pop in at another spot, although personally, Planet of The Apes is not a favorite of mine largely due to the lacks of intentional melodies, it's still a very effective score, and subsequent composers like Rosenman, Elfman, Doyle, & Giacchino, heck even Schifrin on that short-lived Planet of The Apes show, have all referenced Goldsmith's score, so I can't deny it's very influential as well. 

[Fancyarcher]

2 minutes ago, 4815162342 said:

Some tidbits about the next five:

 

• A movie that was terrorized here for how it treated its source material
• 3 sequels, 2 of them 21st Century, 2 of them arguably better than their immediate predecessor
• A fitting movie for literally today

 

 

I'm guessing TWOK?

Edited April 2, 2017 by Fancyarcher

[Ethan Hunt]

5 minutes ago, Fancyarcher said:

 

I'm guessing TWOK?

And TDK I thinks

[Fancyarcher]

2 minutes ago, Ethan Hunt said:

And TDK I thinks

 

Well yeah. He did say two of them were from the 21st century, so TDK is a very big possibility. 

Edited April 2, 2017 by Fancyarcher

[Plain Old Tele]

1 hour ago, 4815162342 said:

79.

 

  Reveal hidden contents

 

Mad Max Fury Road (2015)

Original Music by Junkie XL

234 Points

2015 Placement: NEW

 

 

 

WITNESS THIS! Our second piece of music from the New Eligibility Period comes from a film that took the forum by storm. At least three different composers were approached and/or attached before George Miller was able to lock in Junkie XL for the film. The score for the film is Zimmering done right. Aggressive, metallic, bombastic, energetic, relentless, but also more than just background noise or mish-mash. The film's music fits right in the film's general conceit of a 2-hour car chase, but correctly knows when to dial it back and allow for more quiet, cautious, and slow tension melodies.

 

 

 

At least it beat fucking MOS. 

[narniadis]

MOS and MMFR two of the worst tracks this decade.... 

[Ethan Hunt]

1 minute ago, Telerian said:

 

At least it beat fucking MOS. 

But is it actually better?

[Goffe]

5 hours ago, MrPink said:

I dislike pretty much the rest of the entire score.

Even this?

 

Edited April 3, 2017 by Goffe

[Plain Old Tele]

7 minutes ago, Ethan Hunt said:

But is it actually better?

 

Not even a question (IMO).

[Goffe]

Fury Road is music hell for me. Can't stand it. Brother in Arms, everyone's favorite cue, has a nice melody, but it's absolutely drowned by indiscernible, headache-inducing noises.

[Ethan Hunt]

7 minutes ago, Telerian said:

 

Not even a question (IMO).

For me they're both fine but should be no where near this list. Can't really say I prefer one over the other

[Jake Gittes]

It's been a while since I've seen a Goffe opinion I couldn't wrap my head around, I was almost starting to worry. Not anymore. 

[narniadis]

2 hours ago, Goffe said:

Fury Road is music hell for me. Can't stand it. Brother in Arms, everyone's favorite cue, has a nice melody, but it's absolutely drowned by indiscernible, headache-inducing noises.

 

Pretty much sums my thoughts as well. 

[The Panda]

Fury Road and MoS's scores are decent and nothing more.