Man of Steel |OT| It's about action.

reviews are garbage... I personally didn't like DK, yet reviews were crazy; i liked IM2 more than IM1 yet reviews slammed it; i enjoyed Immortals yet reviews slammed it; watchmen was reviewed 4/4 or 5/5 by Ebert, yet others crushed it. As far as early reviews are concerned, so far, some have praised Shannon as Zod, some claimed he sucked;some have claimed Costner rocked yet i read one early review claiming he was 'outshined';some have claimed MOS is insane, one of the best CBM ever yet others claim it is not that good.

We all look for different things in movies and have our own standards/benchmark to judge performances. Everyone just go watch the movie, even if reviews aren't amazing... you may still enjoy it and think it's awesome..
 
PIMPBYBLUD said:
digital high five man...you have good ears.
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Thanks :D I make sure to listen to it every now and again and it's just absolutely amazing. Really gives Batman and Bruce Wayne this whole new dynamic.

I don't mean to shit up this thread since it's a Man of steel thread but make no mistake. I'm hyped for this movie beyond belief. The samples of the soundtrack I've listened to sounds great. But I think Batman Begins soundtrack is a relevant discussion here in a way. That's pretty much the benchmark and I've always had a feeling Howard played a bigger role in making that possible rather than the obviously talented and very capable Zimmer.
 
btw, why doesn't RT show any scores for MOS yet it shows scored for even WW Z, which opens later? Not gonna put too muc weight in what RT shows unless it has like 40-60 score, then i may be worried about it's quality...
 
Wow Zimmer... Fucking wow.

Thank god he gave his best for MOS.
 
Solo said:
Couldn't possibly disagree more
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I know, and it's cool. You're wrong a lot, that's your thing. :)

It's not a matter of "waiting' for cues to come. Just because I'm familiar w/ some cues before I see the movie doesn't mean I'm watching the movie like it's suddenly a spotify playlist. I'm still watching it AS a movie first and foremost. It's that now, when a cue DOES show up? the emotion it's intending to augment and evoke is amplified just a little because of that familiarity.

The way you talk, Tarantino's movies, which rely entirely upon songs/cues you've already heard as their scores, would completely cease to work. In your mode of thinking, all anyone did during Django was "wait around" for the James Brown remix to come on.

Which isn't how that movie worked.
 
There is this sense of nostalgia or melancholy about some of the tracks, some sadness and some uplifting stuff going on.

Wow!1
 
FatboyRoberts said:
The way you talk, Tarantino's movies, which rely entirely upon songs/cues you've already heard as their scores, would completely cease to work. In your mode of thinking, all anyone did during Django was "wait around" for the James Brown remix to come on.

Which isn't how that movie worked.
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I don't think that's analogous because no one knew what songs he'd use before seeing the movie. An orchestral soundtrack specifically made for a film can only really be used for that one film, so you are expecting it.
 
GamerXXX said:
btw, why doesn't RT show any scores for MOS yet it shows scored for even WW Z, which opens later? Not gonna put too muc weight in what RT shows unless it has like 40-60 score, then i may be worried about it's quality...
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Its the same embargo that was for TDK/TDKR, Monday evening before the Friday opening.

This OST is nuts and I'm only on the third track! A-game indeed.
 
Veelk said:
I don't think that's analogous because no one knew what songs he'd use before seeing the movie. An orchestral soundtrack specifically made for a film can only really be used for that one film, so you are expecting it.
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I picked that angle specifically because people knew it would be in the movie, having been released as part of the promotion, as well as being in the trailers, being created specifically FOR that movie.

Same with "Death Without Honor of Humanity" and Kill Bill.

Basically - the idea that having heard the score fundamentally changes how you watch movies on a basic level is kinda ludicrous. Nobody fuckin does what Solo is suggesting. Nobody watches movies like a playlist, waiting for their "jam" to show up. It's a silly notion. Knowing what music is in the movie before seeing it doesn't suddenly, axiomatically invert the way the movie tells it's story.
 
FatboyRoberts said:
I picked that angle specifically because people knew it would be in the movie, having been released as part of the promotion, as well as being in the trailers, being created specifically FOR that movie.

Same with "Death Without Honor of Humanity" and Kill Bill.

Basically - the idea that having heard the score fundamentally changes how you watch movies on a basic level is kinda ludicrous. Nobody fuckin does what Solo is suggesting. Nobody watches movies like a playlist, waiting for their "jam" to show up. It's a silly notion. Knowing what music is in the movie before seeing it doesn't suddenly, axiomatically invert the way the movie tells it's story.
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People make music specifically designed for trailers all the time, though, so it's hardly a guarenteed notion that the song would be in the movie.

But, personally, I think your both wrong. Hearing a song beforehand doesn't make me ignore the movie, but there is a certain magic to hearing it in the context of what is happening for the first time when you haven't heard it before.
 
whats the name of the background music used in trailer 4?

edit: nevermind found it, it's Arcade.

btw I've seen a couple of reviews and they are all positive. Taken down mostly, apparently the embargo lifts today 8pm. I think?
 
Yeah some reviews went up but were taken down. I saw two endorsements/positives and a 3.5/4 that said it was great and a 4/5.

That 90/100 critics choice is accurate, the reviews just can't be up. Embargo ends in the next few hours.

Get hype!
 
Everything's going to hit the internet all at once around 8pm tonight. More reviews than you can handle. You'll sink into them with a disbelieving, alarmed look on your face, like a man sinking into a pile of skulls.

ANYWAY: Deborah Snyder gave an interview to Crave, which you can read here. (very mild spoilers here and there)

http://www.craveonline.com/film/int...rah-snyder-talks-man-of-steel-and-easter-eggs

In it she specifies there IS NO AFTER-CREDITS STINGER. They decided early on that they weren't going to do it, because they don't like how it basically makes the whole movie feel like an ad for a completely different movie that isn't necessarily going to ever get made. So why waste time/energy worrying about it.

She also made sure to specify that there are some easter eggs in the film that hint at a larger DC Universe, but she also specifically debunks the idea that Supergirl will appear in a potential sequel.

So, to recap:

NO POST CREDITS STINGER

No plans for Supergirl.
 
In it she specifies there IS NO AFTER-CREDITS STINGER. They decided early on that they weren't going to do it, because they don't like how it basically makes the whole movie feel like an ad for a completely different movie that isn't necessarily going to ever get made. So why waste time/energy worrying about it.
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I want to shake her hand.
 
FatboyRoberts said:
In it she specifies there IS NO AFTER-CREDITS STINGER. They decided early on that they weren't going to do it, because they don't like how it basically makes the whole movie feel like an ad for a completely different movie that isn't necessarily going to ever get made. So why waste time/energy worrying about it.
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But...

She also made sure to specify that there are some easter eggs in the film that hint at a larger DC Universe
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What's the difference? Either way you're hinting at other things that exist in that world.
 
She explained the difference in the interview, and I paraphrased it in the post.

One is production design stuff. Putting a name on a building. Putting a logo on an object in the background of a shot. The other is writing/directing/producing a scene SPECIFICALLY for the purpose of advertising a movie that might not ever happen.

Post-credits stingers are distracting gimmicks more often than not.
 
After-credits scenes are as annoying and played out as the Wilhelm Scream. I'd be happy if there were never an after-credits scene in any movie ever again.
 
Toa TAK said:
Damn! While I can agree, it's got to be better than his POTC4 score... right?!
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That shit barely qualifies as a score. TDKR was lazy as fuck/relied on past cues for most of its highlights, but at least it was a proper score. POTC 4 was some patchwork collab shit.

javac said:
Thanks :D I make sure to listen to it every now and again and it's just absolutely amazing. Really gives Batman and Bruce Wayne this whole new dynamic.

I don't mean to shit up this thread since it's a Man of steel thread but make no mistake. I'm hyped for this movie beyond belief. The samples of the soundtrack I've listened to sounds great. But I think Batman Begins soundtrack is a relevant discussion here in a way. That's pretty much the benchmark and I've always had a feeling Howard played a bigger role in making that possible rather than the obviously talented and very capable Zimmer.
Click to expand...

JNH is definitely responsible for the soul/emotional undercurrent present in BB. You can easily pick out his cues. Where Zimmer was hitting you with bombast (which he does as well as anyone, to be fair), JNH was there to balance him out with more subtle, evocative, emotional cues. That BB's score borders on perfect is because its a great collaboration of two completely different but extremely complimentary styles.

On TDK, it was no longer a 50/50 pairing. Zimmer wrote most of the stuff with JNH only contributing a bit. And it showed/hurt the score, for me. Then comes the Zimmer-only TDKR, and all the layered emotional complexity than JNH brings was missing and Zimmer couldn't make up for it. A real shame they couldn't have stayed a 50/50 partnernship throughout. As it is though, BB is my favorite score of the past 10 years and is infinitely listenable.
 
FatboyRoberts said:
She explained the difference in the interview, and I paraphrased it in the post.

One is production design stuff. Putting a name on a building. Putting a logo on an object in the background of a shot. The other is writing/directing/producing a scene SPECIFICALLY for the purpose of advertising a movie that might not ever happen.

Post-credits stingers are distracting gimmicks more often than not.
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How can it be distracting if it's *after* the movie? You choose whether or not you want to see it. It's like watching a preview at the end of a tv show: you want to get a peek at what's coming next, it doesn't mean you were sitting there the whole time just to see the preview.

Also, don't know (or care :lol) about GL's stinger, but Marvel's have all taken like 2 hours to make. The Avengers' was shot the night of its premiere ffs. They're hardly huge expenditures of time and manpower.
 
http://grouchoreviews.com/reviews/4518
Posting as i find em, read at your own risk.

EDIT
That was actually a great review. Heres the opening
The Superman of the post-Christopher Nolan era has arrived on planet Earth, in fiction and in reality. In fiction, no one expects him, but in reality, he's about what moviegoers would expect. He's still an unfailingly polite and upstanding young man, a moral exemplar, and an alien being like unto a god. But following the massive success of Christopher Nolan's Batman trilogy, Zack Snyder's Man of Steel comes obliged to be more philosophical than fun.
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And a choice quote
There's something perverse about taking the sunniest of superheroes and dulling his primary colors, not to mention controlling the spitfire of Lois Lane (Amy Adams). All that restraint is certainly trendy, but doesn't engage the imagination of kids of all ages like Donner's 1980s Superman two-fer did. The actors are fine but never overcome the speechifying enough to generate excitement on their own steam (Cavill's more credible in the role than Brandon Routh, though both took cues from forebear Christopher Reeve), and Goyer and Snyder allow some of the action beats to be murky in their particulars. On the other hand, Snyder does achieve some elegant visual poetry around his hero that shows a kind of evolution of Donner's making us believe a man can fly.
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movie.com has a crazy review, below.


http://www.movies.com/movie-news/man-of-steel-review/12488

"I’m a huge fan of all versions of Superman and I obviously can’t speak for everyone, but I went in with astronomically high hopes and they were still exceeded. It’s very rare for me to give any movie a 10 out of 10, but that’s exactly how I rate Man of Steel."

"I expect that if Christopher Reeve were alive today that he would fully endorse Cavill’s take on the role."

"For starters, Henry Cavill is just as amazing as we’ve been expecting. Everyone is perfectly cast, with Michael Shannon being a standout. Both he and Antje Traue are scary, powerful and the perfect duo for Superman to square off against in this reboot. I freely admit that I’ve never been a huge fan of Russell Crowe or Kevin Costner, but they both nailed their performances here."
 
Quick assortment:
  • Ain't It Cool "The Superman film we have been waiting for."
  • The Verge "Finally the Superman we deserve."
  • Hollywood Reporter "There's big and then there's Superman."
  • Modern Myth Media 5/5 stars
  • Superherohype 8/10
  • Comicbookmovies 3.5/4
  • The Guardian 3/5
  • Comicbookresources "While it has many strengths to offer, the film is not a completely satisfying whole."
  • Variety "Humorless and relentlessly noisy."
 
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