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on March 16, 2013
Is it on his contract that whatever he writes must become a work of genius?
Thank the lord for "sleepers", "JFK" and "born on the fourth of July". Movie scores that are somewhat average. But then it's even more concerning when you discover that he actually wrote those while he was asleep.
Yes, it's a cold hard truth to other composers that John Williams is simply the best. And the more you listen and learn, the more you will discover that his music will always be better than yours. But your in good company with the rest of the world. Did I mention this is easily one of the best scores ever written, But on a list of jw scores it's just "another one". Thereby making it a typical, average jw score, and not outstanding like close encounters or e.t.
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on April 21, 2013
A beautiful score, filled with great selections (not brief snippets like some original movie scores of late.). The shortest selection runs at 1:30, the longest at 5:51, so you have ample opportunity to get a feel for the music. There's even an amusing solo sung by Renee Fleming. The music is fanciful and fun, at times quite whimsical. There's even a bit of intrigue. I haven't seen the film yet; don't believe it's required to enjoy this CD. I've found it to be perfect music to paint by. It's thoroughly enjoyable and a great addition to my collection of movie soundtracks.
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on August 23, 2012
I may be stretching that Title a bit much for it's not a hit in the USA as it was in Europe, but the fact remains that people are wanting a return to a higher standard.

Reviews of the soundtrack will come in the next edit. When I have my next sit through the whole thing. But despite not being the most hummable, it excites me without end in it's adventurous appetite.

I prefer this over what Hans Zimmer and his colleagues at RC have done to degrade the blockbuster score this past decade.

And with Silvestri's work for "The Avengers" and Horner's "Spiderman" I'm glad to see a change in trends of supposed generic orchestras being more front and center. That accomplished more than repetitive sound designs. To have not feel embarrassed writing more motifs and fuller musical identities without being called cliched.

Now imagine what John Williams will do for "Robopocalypse" to face sci-fi full front with full orchestra unlike anyone is doing recently. Best comparison would be Goldsmith who incorporated the technological sounds masterfully into the emotional core of the orchestra, not to abuse or overshadow it like the 'Zimmers' have done.

I can just wonder....
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on October 8, 2014
great soundtrack!!! such amazing music once again from john williams, and even better that this stands out from his other classics (jaws, star wars, etc). the flow of the music, the melodies, are aewsome to listen to, and fun to enjoy while laying in bed, driving to work, or doing dishes. this is another soundtrack that stays in my rotation as its just whimsical and fun to listen to.
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on August 28, 2012
John Williams doesn't need my puny tribute, but to the reader: You need to get this soundtrack if you've seen the movie. If you have not seen the movie yet, please rent or buy it. You will want the soundtrack. It is a great family film. It was co-directed by Steven Spielberg and Peter Jackson. Sometimes you forget it's an animated movie, it's so real. Andy "Gollum" Serkis is in it as a bumbling police officer. The music magnifies the efforts of these great artists. Thanks, John.
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on February 24, 2016
Good sonic fun to be had here and awesome to hear some variations on John William's genius.
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on September 18, 2013
How does John Williams manage musically to capture the mystery and suspense of this adventure story, and at the same time, with tongue firmly in cheek, pinpoint precisely the over-the-top, slapstick humor of this cartoon masterpiece? Bravo, John; may this be your 49th Academy Award nomination.
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on December 27, 2014
Ordered it for a friend, came in perfect condition!
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on December 29, 2011
Though not among the best of Williams work, it is still a nice return to the Johnny Williams epoch. Williams, too
often, is accused of an impressive uni-dimensionality of style. I have always found the charge to be impressively false. He is no spectral presence in the dimension of jazz--which is on display here. Rather than playing at Berlioz, he plays at Kenton and Mancini. This cd reminds us of his multi-dimensionality.

It is also unusual in that the music, in this film, somewhat calms the dizzying frenzy of what is "splashed" upon the screen. Like many, I found the film quite unwatchable because of hyperactive camera work and bad pacing--I think this is not a problem for a younger audience that likes the gyrations of the carnival. Williams usually turns up the kinetic drive in Spielberg films where the emotional energy would otherwise be lacking. Here, Williams often turns it down. I think that is significant, reminding us that Williams is more than a composer; he is an editor.
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on October 25, 2011
In terms of music, don't expect any glorious rises of "Harry-Potteresque" proportions here. The melodies are more subtle or atmospheric. The musical notes accompany the action, soaring at the same time the characters jump, sweetening when the same characters relax. The theme for snowy-the-dog even suggests its jerky movements. Williams, the Grand Master, decided to go with a jazzy-kind-of-score for Tintin, one of the most popular characters in comic book History if not the most (except in the U.S.). It made me think of the music for the cantina scene in the fourth "Star Wars". When Steven Spielberg, Peter Jackson and John Williams decide that this is the kind of music a movie deserves, well, who are we to judge? Of course, I was expecting a more grandiloquent score à-la-Harry Potter, with a strong, effective and evocative grand theme that would immediately be easy to whistle. But three of the most talented artists of our time thought otherwise. John Williams is at a stage where we pretty much accept whatever he decides to compose. Without him, film music simply isn't the same. If he goes the opposite way of what's expected, well it is because we, listeners, didn't see it properly in the first place. Or at least I didn't see it properly. Of course, the music is perfect for the story. The more I listen to it, the more I like it. And the more I discover its multiple layers. It's a perfect score to listen while doing something else. In your car or in your home, it makes for great background music with occasional (and minimalist) soaring melodies that will make you feel good. But it's much more than just a jolly good soundtrack. Like I said, they are several musical layers that unfold the more you listen to it. It's a rich score from a grand master who, in my own humble opinion, understood the characters he was cocooning with music. Pay close attention to the theme of Captain Haddock, one of the most beloved characters of the world of Tintin. It's surprising and touching. This character is definitely the best treasure of the film, both in terms of storytelling and in terms of music. Bravo!
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