Comments on: Soundtrack Review: Hellboy II: The Golden Army (2008) http://soundtrackgeek.com/2008/07/14/soundtrack-review-hellboy-ii-the-golden-army-2008/ Tue, 16 Mar 2010 17:15:17 +0000 http://wordpress.org/?v=2.9.2 hourly 1 By: Film-Book dot Com » Blog Archive Review: Hellboy II: The Golden Army » http://soundtrackgeek.com/2008/07/14/soundtrack-review-hellboy-ii-the-golden-army-2008/comment-page-1/#comment-2106 Film-Book dot Com » Blog Archive Review: Hellboy II: The Golden Army » Wed, 22 Oct 2008 13:31:26 +0000 http://soundtrackgeek.com/?p=987#comment-2106 [...] Soundtrack Review for Hellboy II: The Golden Army [...] [...] Soundtrack Review for Hellboy II: The Golden Army [...]

]]> By: Soundtrack Geek http://soundtrackgeek.com/2008/07/14/soundtrack-review-hellboy-ii-the-golden-army-2008/comment-page-1/#comment-1743 Soundtrack Geek Sun, 07 Sep 2008 09:19:26 +0000 http://soundtrackgeek.com/?p=987#comment-1743 Well you are obviously an Elfman fan and I think form your standpoint you are absolutely correct. Reviewing scores is obviously subjective and we only have ourselves to count on. Personally I didn't find much difference between Beltrami and Elfman's effort. The differences lie solely in that they have different styles and methods of working, but if you really listen closely, you would be hard pressed to find anything revolutionary. I write my reviews the way I hear them, it's not my job to tell the readers how to listen to scores and therefore I give a musical preview listen to every score I review. I could tell how each track sounded in my ears with excruciating detail, but it wouldn't matter as each and every person will think differently. Ultimately it's people's own opinion that matters, like yours, not mine. Well you are obviously an Elfman fan and I think form your standpoint you are absolutely correct. Reviewing scores is obviously subjective and we only have ourselves to count on. Personally I didn’t find much difference between Beltrami and Elfman’s effort. The differences lie solely in that they have different styles and methods of working, but if you really listen closely, you would be hard pressed to find anything revolutionary. I write my reviews the way I hear them, it’s not my job to tell the readers how to listen to scores and therefore I give a musical preview listen to every score I review. I could tell how each track sounded in my ears with excruciating detail, but it wouldn’t matter as each and every person will think differently. Ultimately it’s people’s own opinion that matters, like yours, not mine.

]]> By: Jon http://soundtrackgeek.com/2008/07/14/soundtrack-review-hellboy-ii-the-golden-army-2008/comment-page-1/#comment-1709 Jon Fri, 05 Sep 2008 20:19:11 +0000 http://soundtrackgeek.com/?p=987#comment-1709 Major quolms here... 1. I think the score's a lot better than you're giving it credit for. A rating like this in my case would be for something that was decent but unexciting and ultimately too uninvolving for me to give a solid recommendation. HB2 is not that kind of score. "Sticking to the old formula", as you put it, is exactly the kind of orchestral excitement that fans of Elfman's earlier works have been demanding for a while. While those fans haven't outright rejected his more modern works (Spider-Man scores = both 4.5/5 in my book), they still harken for the days of inventive, grand takes like Batman or, to push things a little closer to present day, Sleepy Hollow. To me, this work is the closest Elfman's come since Sleepy Hollow to belting out his gothic side, and the opening two tracks really catch you with pounding brassy music. This style dominates most of the score...indeed, the style and consistancy is what makes the package so attractive. Elfman takes it to places thrilling (the harsh racket of "Where Fairies Dwell", big thunderous moments of "In the Army Chamber"), creepily mysterious (theremin wailing in "Teleplasty", the scratching opening of "A Choice), and of exotic fantasy (the awesome choral entrance in Troll Market being a highlight). I don't really understand how this kind of music is "isolating" to people, and in order for me to clash you on this point you're really going to have to warrant such grand statements a little better. Anyways, one would think this kind of raving on my part would merit 5/5 stars. However, while the themes for Nuala and the Army are quite effective, I feel Elfman really lets us down in the more major themes. Beltrami's score excelled in this department, with a grungy theme representing the character's "cool" factor and a rousing heroic theme for his action exploits. It's one of the better representations of duality in recent superhero scores. Elfman chose to abandon both good themes and instead gives us a descending three note motif. Now, we know Elfman likes to insert his themes in shorter snippets into his action works...both Batman and Spider-Man feature four-note inserts of their main themes at various points. But there's no point at which this theme expands. One could analyze the intelligence of a descending motif for a more doomed, less heroic character than other superheroes, but still, as a representation for the main character and a musical device, it's a disappointment. My disappointment also extends to the love theme, which is nice and serviceable, but pales against both former Elfman love themes and, more importantly, Beltrami's for the first film. His was a very sweeping and moving theme, and to have that power removed is saddening. I realize that all scores have stand-alone merits, but in a series of film scores, the proceeding works set a standard the others have to follow. It's the reason why I only give 4 stars to The World is Not Enough...Tomorrow Never Dies already raised the bar. Elfman's gothic stylings are very strong and entertaining, yet one can only imagine how good this score could've been with great themes. 4/5 2. Did you listen to Beltrami's score? Seriously? You can't possibly find these two scores "not very different". I've already emphasized the thematic differences, but one could also list the raw choral explosions or more chaotic nature of Beltrami's action material, just to name a few. Seriously, get the 2-disc complete score (mainly so you can actually hear the heroic theme...stupid lacking commercial release, and open your ears. 3. I don't really think this is much of a review. Please don't take this as attacking. But if I were a reader who hadn't heard it yet and the only specifics I got were "ghosty sounds", "interesting orchestration", and "noisy instruments", I wouldn't be any more informed. Major quolms here…
1. I think the score’s a lot better than you’re giving it credit for. A rating like this in my case would be for something that was decent but unexciting and ultimately too uninvolving for me to give a solid recommendation. HB2 is not that kind of score. “Sticking to the old formula”, as you put it, is exactly the kind of orchestral excitement that fans of Elfman’s earlier works have been demanding for a while. While those fans haven’t outright rejected his more modern works (Spider-Man scores = both 4.5/5 in my book), they still harken for the days of inventive, grand takes like Batman or, to push things a little closer to present day, Sleepy Hollow.
To me, this work is the closest Elfman’s come since Sleepy Hollow to belting out his gothic side, and the opening two tracks really catch you with pounding brassy music. This style dominates most of the score…indeed, the style and consistancy is what makes the package so attractive. Elfman takes it to places thrilling (the harsh racket of “Where Fairies Dwell”, big thunderous moments of “In the Army Chamber”), creepily mysterious (theremin wailing in “Teleplasty”, the scratching opening of “A Choice), and of exotic fantasy (the awesome choral entrance in Troll Market being a highlight).
I don’t really understand how this kind of music is “isolating” to people, and in order for me to clash you on this point you’re really going to have to warrant such grand statements a little better.
Anyways, one would think this kind of raving on my part would merit 5/5 stars. However, while the themes for Nuala and the Army are quite effective, I feel Elfman really lets us down in the more major themes. Beltrami’s score excelled in this department, with a grungy theme representing the character’s “cool” factor and a rousing heroic theme for his action exploits. It’s one of the better representations of duality in recent superhero scores. Elfman chose to abandon both good themes and instead gives us a descending three note motif. Now, we know Elfman likes to insert his themes in shorter snippets into his action works…both Batman and Spider-Man feature four-note inserts of their main themes at various points. But there’s no point at which this theme expands. One could analyze the intelligence of a descending motif for a more doomed, less heroic character than other superheroes, but still, as a representation for the main character and a musical device, it’s a disappointment.
My disappointment also extends to the love theme, which is nice and serviceable, but pales against both former Elfman love themes and, more importantly, Beltrami’s for the first film. His was a very sweeping and moving theme, and to have that power removed is saddening.
I realize that all scores have stand-alone merits, but in a series of film scores, the proceeding works set a standard the others have to follow. It’s the reason why I only give 4 stars to The World is Not Enough…Tomorrow Never Dies already raised the bar. Elfman’s gothic stylings are very strong and entertaining, yet one can only imagine how good this score could’ve been with great themes. 4/5

2. Did you listen to Beltrami’s score? Seriously? You can’t possibly find these two scores “not very different”. I’ve already emphasized the thematic differences, but one could also list the raw choral explosions or more chaotic nature of Beltrami’s action material, just to name a few. Seriously, get the 2-disc complete score (mainly so you can actually hear the heroic theme…stupid lacking commercial release, and open your ears.

3. I don’t really think this is much of a review. Please don’t take this as attacking. But if I were a reader who hadn’t heard it yet and the only specifics I got were “ghosty sounds”, “interesting orchestration”, and “noisy instruments”, I wouldn’t be any more informed.

]]> By: Soundtrack Geek http://soundtrackgeek.com/2008/07/14/soundtrack-review-hellboy-ii-the-golden-army-2008/comment-page-1/#comment-1407 Soundtrack Geek Sat, 26 Jul 2008 06:37:10 +0000 http://soundtrackgeek.com/?p=987#comment-1407 mdx: I agree, it's Elfman. Wanted had it's highlights too, but it didn't stand out too much either. Patrick: Great! Can't wait to see it. Loved the first one. mdx: I agree, it’s Elfman. Wanted had it’s highlights too, but it didn’t stand out too much either.

Patrick: Great! Can’t wait to see it. Loved the first one.

]]> By: patrick http://soundtrackgeek.com/2008/07/14/soundtrack-review-hellboy-ii-the-golden-army-2008/comment-page-1/#comment-1402 patrick Thu, 24 Jul 2008 10:58:55 +0000 http://soundtrackgeek.com/?p=987#comment-1402 Hellboy 2 was fun; for sure that director has an amazing imagination, reminded me a lot of his work in Pan's Labyrinth Hellboy 2 was fun; for sure that director has an amazing imagination, reminded me a lot of his work in Pan’s Labyrinth

]]> By: mdx http://soundtrackgeek.com/2008/07/14/soundtrack-review-hellboy-ii-the-golden-army-2008/comment-page-1/#comment-1396 mdx Mon, 21 Jul 2008 10:59:24 +0000 http://soundtrackgeek.com/?p=987#comment-1396 This score isn't that special in my opinion. There are some tracks that stand out due to great choral arragements. His other score for the movie 'Wanted' is much more exciting has a lot more and better themes and variation. This score isn’t that special in my opinion. There are some tracks that stand out due to great choral arragements. His other score for the movie ‘Wanted’ is much more exciting has a lot more and better themes and variation.

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