Reel Opinions Podcast: Episode 16- War for the Planet of the Apes: Spoiler Talk

Analysis: The Synth Revival

This was originally published at Soundtrack Geek  on 7th October. 

Given that there is now a mandatory requirement for every online journalist to write a minimum of 300 articles that are in someway related to Stranger Things, I really need to start boosting my numbers. Sorry, I don’t make the rules, I just live slavishly by them. Anyway, here goes.

One of the best things about the now-ridiculously popular Netflix show is its era appropriate soundtrack, which beautifully harkens back to the scores of the 1980s through the use of dark electronic music and, more specifically, the synthesiser. It’s a really great soundtrack, working perfectly as an authentic tribute to all of the cult-classic works that the show itself is lovingly paying homage to.

Soundtrack Review (Flashback): 50 Shades of Grey

50 Shades of Grey is one of the laziest blockbusters of all time, to the point where I would consider it the very antithesis of art. Very few films get so many things wrong; from casting, to writing, to production design and even basic story structure, and yet this dross still remains a critic-proof hit. Everyone involved with the project ought to be ashamed of themselves, especially composer Danny Elfman, who really should have known better.

Soundtrack Review (Flashback): Thor: The Dark World

Marvel are getting quite a lot right at the moment in terms of their filmic output. They’ve got great special effects, top quality directors, and spot-on casting all down to a perfect T. It is for all of these reasons that they’re now an unstoppable cinematic juggernaut, churning out hit after hit and making it look easy while they do so. But there’s one area in which the studio seems to repeatedly stumble. There’s one thing that they never seem to get quite right (besides villains that is). Indeed, whilst they seem to nail almost every other aspect of production, for whatever reason Marvel just cannot find a distinctive musical voice. The studio is currently 13 films into its cinematic universe, however it is still lacking a properly iconic superhero score. They’ve come close a few times (Alan Silvestri did a pretty solid job with Captain America: The First Avenger), but nothing has truly popped yet. No matter who is on composing duties, Marvel soundtracks consistently feel stale and rather generic.

Podcast Review: Lights Out

Soundtrack Analysis: Game of Thrones (Season 6 Finale)