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submitted 1 day ago* (last edited 1 day ago) by duderium@hexbear.net to c/movies@hexbear.net

I might be booming out over here, but the last movie I can recall with interesting music was The Force Awakens, and that was just Rey's little ditty because John Williams was horny for her. And that melody, lasting just a few seconds, wouldn't stand up at all to any of the more famous music John Williams has made. (I'm remembering now: Sorry to Bother You (2018) has a great soundtrack, it's no surprise the director is a musician and a Marxist, even though he said recently that Israel created Hamas.)

The slop was always there, but the slopification of everything is in full swing. There is so much content out there, and nearly all of it is hardly better than rushing static. But we need more slop. It's cheaper to just pump out a shitload of nothing than to take a risk with something that might actually be memorable.

Also been thinking that we'll soon be entering the age of art that clearly states that it's AI-free, no AI was involved in its production, similar to organic food labels. The choice is going to be AI-free slop or AI-ridden (written) slop, just as we have the choice to buy cheaper food that is basically packed with cancer. A day or two ago youtube's algorithm fed me a complete film version of Heir to the Empire, with amateur voice actors, animated using what seemed to be a game engine, and the title stated that AI was not involved in its production. And although it obviously wasn't great—I skipped around here and there and just watched a few minutes—I respected the hustle and definitely think that it wasn't a 0/10. Also Thrawn uses space phrenology to win battles.

Anyway, I'm an amateur musician. It's not difficult to belt out a catchy tune on a guitar, as long as you practice and put some emotion into it. I love movies, used to make them and act in them, and always loved setting music to whatever we had managed to put together. When I listen to music now, a lot of the time I'm thinking about how great it would go with stories I've written. I have an unpublished, 99%-finished novel based on the first Starcraft game (yes, very nerdy, with a Marxist vibe and everything changed except the core vibe), and I wrote the Protoss section while listening to a couple of Dimi Mint Abba albums, over and over again. God damn, do I wish I could make a blockbuster science fiction movie with some of that music!

Lawrence of Arabia is colonial apologia packed with racism and lies, but the cinematography and music alone—what do we have that compares to that? (Admittedly, it might just be a movie that has never been equaled.) I swear it also has to do with the move to digital (Walter Benjamin). Watching Uncut Gems is shocking for all kinds of reasons, but it still looks awesome now because they used actual film to film it. Independence Day (reactionary guilty pleasure) has, honestly, incredible special effects and a not entirely worthless soundtrack. I randomly watched the trailer for Armageddon, an awful movie, and I was still impressed with the effects, the juiciness of explosions that involve actual models. Some of this is toxic millennial nostalgia, but not all of it.

In some ways Wagner (yes, I know) was the inventor of cinema, even though he never used cameras. His idea of gesamtkunstwerk, total art, applies even more to cinema than to his operas. So many different art forms come together in cinema: writing, acting, makeup, painting, architecture, weaving, photography, music. Is there any art form not involved in cinema? And so much of it is just outsourced to computers now. The thrill is gone, baby. Big movies usually have good actors now, but the writing is almost always so amazingly substandard—it's just filler—and the effects have gone down the drain even though they're more expensive than ever, sets are no longer built, and now even music is just a variation on a variation on a variation of a theme, cut to previous blockbusters. Same as it ever was but also just notably worse. Like...what films are you excited to see, coming this year? What upcoming shows actually look interesting?

I know this also has to do with Zionism in Hollywood, too. To be a zionist is to be totally out of touch with reality, and if you're working in film you're saying "fuck the story" and replacing it with ever more spectacular fireworks. It makes me think of William Shatner coming out of that Blue Origin rocket and complaining about how humanity is ruining the Earth, with Jeff Bezos standing right beside him and basically spraying him with champagne to shut him up. Capitalist art is just fucking exhausted, it's sprinting faster and faster on the treadmill that it built, and yet there are so many great stories that haven't been told, so many great artists out there just waiting for a chance to make something truly great, to say something unforgettable that matters.

Currently listening to Hunters of Heaven on the album Harumi, which I discovered thanks to twitter today, and...like...any bad or mediocre film that threw in this song for any scene would suddenly become a lot better.

Old man shakes fist at cloud rant over.

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[-] tombruzzo@hexbear.net 20 points 23 hours ago

Nerdwriter1 made a video on this years ago essentially blaming Hans Zimmer for popularising the percussive and textural approach to scoring. Everything feels right in the moment but it's all drums, brams, and pads so there's no melody and you can't remember any of it after.

Really, compare the Batman theme from the Tim Burton movies composed by Danny Elfman with the Dark Knight movies by Nolan scored by Zimmer. Can't recall a single note from The Dark Knight but the opening to The Animated Series is etched into my brain.

[-] TrashGoblin@hexbear.net 4 points 19 hours ago

That was one thing I really noticed about Blade Runner 2049. The score, by Hans Zimmer, was fine, but completely unmemorable. The only bit that stood out as having any intention behind it was the reprise of "Tears in Rain". It would be interesting to hear El-P's score for the trailer that didn't get used.

[-] meatcringe@hexbear.net 8 points 23 hours ago

Ok but the interstellar soundtrack goes hard

[-] PKMKII@hexbear.net 4 points 22 hours ago* (last edited 17 hours ago)

I feel the same way about modern pop music, I can listen to 30-60 minutes of Top 40 radio and absolutely none of the melodies stick in my head. Doesn’t help that the mixing style seems to lean towards wall of sound if the wall was made of pudding.

[-] SerialExperimentsGay@hexbear.net 12 points 22 hours ago

There is actually an editing technique that is in parts responsible for this. Directors have come to rely more and more on so-called temp music for the editing process, which means that instead of having the film edited first and then having that edited version underlayed with a score, they use a pre-existing score and edit the raw footage to that. And then, the composer gets this edit with the temporary score, that already is built around an existing rhythm and musical dramaturgy, and has to work with it, so they end up producing a derivative knockoff of whatever the footage was originally set to.

[-] Leon_Grotsky@hexbear.net 8 points 20 hours ago* (last edited 20 hours ago)

I think another angle to be examined is the effect of licensing music proliferating in the film industry. I feel like between the "vibes" film music and nostalgiabaiting licensing deals there's little room for the classic film composition.

[-] PKMKII@hexbear.net 13 points 23 hours ago* (last edited 23 hours ago)

I think it comes back to everything in film, not just the score, feeling like it’s coming out of a place of derivative safeness. Everything goes to the formula, not because the formula is a big winner, but because it has a relatively high floor of success. Do it this way, you’re guaranteed to at least break even. It’s a capitalist mindset to be sure, but moreso in the hedge sort of way. There’s no high risk high reward filmmaking; if we were to use an investing analogy (and it is for the owners), it’s functioning like a CD or bond fund.

The first example that came to my mind is this trope lately, more in the trailers than the movies themselves, of using some mid-20th century classic rock or pop song (because of course we can’t move past that), but giving it the “epic” treatment. Isolate just a few elements of it, drown it in reverb and a spacious delay, add in gaps for a dramatic pause effect, slap some string pads on to it. It’s trying to hit too many film music cultural taste buds at once (nostalgia, epic orchestra, sound design textures) and ends up being a weak version of all of them.

the last memorable movie soundtrack for me was Turbo Kid (2015), composed by a french-canadian band Le Matos.

i do appreciate Max Richter's specific works and the occasional recycling of his themes for different media. The Leftovers was and still is a revelation. Brian Tyler can be expressive when left to be creative (Bubba Hotep soundtrack was rad AF).

and Siddhartha Khosla is kinda earworming me with their work on Paradise too.

otherwise, it all seems like an undifferentiated mass of slow/reverb covers of songs from the youth era of whatever demographic is being targeted, and forgettable leitmotifs.

[-] plinky@hexbear.net 2 points 22 hours ago* (last edited 22 hours ago)

every frame a painting talked about this.

but tbh, i don't think ost sucking musical shit is bad by itself, it's fine if it's unobtrusive mood type deal, there are a lot of older movies that work fine without memorable sound track (take heat or collateral for example). or older wes anderson movies, where musically memorable stuff is carried by choice of a song with lyrics, not melody in itself.

i can tell something like dune or blade runner 2049 had a great soundtrack, even if i can't remember it from the top of my head, i would still recognize it immediately. Not everything need to be an opera with leitmotifs for characters, it is nice if it's unusual tho, instead of derivative schlock

(and also people overpay attention to series openings, you heard the damn things dozens of time if not more, compared to 1-2 for average movie, breaking bad also had memorable title ost, so.)

[-] SerialExperimentsGay@hexbear.net 2 points 19 hours ago

Not everything need to be an opera with leitmotifs for characters

When a pixelart indie rpg can do it, i'm holding Hollywood to the same standard susie-wide

[-] HexReplyBot@hexbear.net 1 points 1 day ago* (last edited 1 day ago)

I found a YouTube link in your post. Here are links to the same video on alternative frontends that protect your privacy:

this post was submitted on 05 May 2026
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