The film has been at 2. The image here is very sharp and clear, showing no major defects. It is typically in brightly lit exterior shots that one notices grain in movies, and "The Mummy Returns" is full of scenes in the hot, scorching desert, but the grain is barely noticeable. The blacks in the film are true and realistic, as are the fleshtones. The crispness of this image adds a great deal of depth to the many wide shots of the desert. The framing here appears to be accurate and there are no overt problems caused by compression or edge enhancement.
Overall, this transfer is near reference quality, in my opinion. This track offers clear and audible dialogue, with no overt hissing. The dynamic range is quite good here, creating an impressive soundfield. Also noticeable is the attention to detail in the onscreen action to speaker placement of the sounds. And let us not forget the subwoofer, who never feels left out in this sonic assault.
Iron Man 2 Posted by Prodigy. Avatar Posted by Prodigy. Legion Posted by Prodigy. Toy Story 3 Posted by Prodigy. V V For Vendetta. Y Year One Yes Man. Z Zombieland. E Epic Movie. Q Quarantine. Prodigy Movies is absolutely legal and contain only links to other sites on the Internet i. We do not host or upload any movies. Prodigy Movies is not responsible for the accuracy, compliance, copyright, legality, decency, or any other aspect of the content of other linked sites.
Trailers Official Theatrical Fan Made. Downloads Movies Wallpapers Soundtracks. Wrestling zecice ; 4. Burek clanovi ; 5. Najbolje erotske scene Yu filma. Poruka 12 Poruka 13 Poruka 14 Poruka 15 Poruka 16 Avg , Poruka 17 Poruka 18 Archive: Hot Babe Galleries! Avgust Oznake: maya patrisa anak link erotika slika vacancy patrica heroe mirta slika zapata jpg Velasquez mummy luisa Patricia velazquez atricia velasques.
The brass performances are so blatantly heroic that they may remind some listeners of the classic swashbuckling scores of the Golden Age or, more recently, John Williams scores of the 's, with brief, pulsating blasts from one brass group weaving in and out of triumphantly extended whole notes on others.
This could be the single brassiest score in the early 's, and if you're a fan of explosive horn sequences, this is your dream come true. On top of the constant level of noise, the full ensemble also performs a variety of new themes that Silvestri created for the sequel. The Goldsmith themes are not explicitly performed at any time, and this choice was intentional.
In many ways, this decision is a shame, because Goldsmith nailed his themes even if his underscore was scattershot. His Egyptian theme in particular, the one that opens The Mummy in "Imhotep," remains the most impressively powerful identity in the entire franchise. That said, if you listen closely to the subtle counterpoint in busy action sequences of the sequel effort, such as a few bars of music two to three minutes into "Scorpion Shoes," you can hear Goldsmith-influence phrasing that suggests some connections between the scores, though they may also be purely coincidental.
Silvestri adds three new primary themes to the sequel score, each of them developed to satisfaction. It's related to the old "B-rated" sci-fi adventure themes of the early 's and is about as basic in structure as one can get. Still, as a general-purpose adventure theme, it gets the job done and will remind of the same spirit that made Silvestri's Back to the Future theme so adorable. The second theme is the heavy-duty, Egyptian-flavored representation for the love affair between the villains, with strings and woodwinds building to exotic statements that mirror some of the tones heard early in David Arnold's Stargate.
Listen for a particularly muscular rendition of this idea at the end of "Train Chapter. The chorus builds upon this mystique with enchanting presence at times, though its chants never occupy very lengthy sequences of the score. During some passages, they do remind of the primal presence in Silvestri's Predator 2.
All the ideas that Silvestri conjures are packed into the frenetic and lengthy "The Mummy Returns," which serves as an exceptionally strong editorial suite of themes from the score. The sound quality of the Sinfonia of London Orchestra and Chorus, as recorded at the resounding CTS Colosseum in England, is crisp and dynamic, with enough reverb added back into the mix to maintain both the scope and dynamic tone of the genre.
In some moments, the oud and other exotic accents get lost in the mix, but they can still be followed. The original Decca album offers a phenomenal presentation of the score, with almost seventy minutes of unadulterated Silvestri action providing for an exhilarating and enjoyable hour of noisy fun. These omissions were rectified by Intrada Records in , when the label released both this and Goldsmith's The Mummy as outstanding, expanded products.
Like the preceding work, some of the previously unreleased Silvestri cues are atmospheric and tend to slow the flow of the listening experience significantly. The inclusion of the source-like "Gong" for 18 seconds is amusing but could have been moved to the end of the presentation.
Still, the final twenty minutes of the score is an essential addition for any enthusiast of this music, especially with the love theme in "Wrong Girlfriend" and main heroic theme in "Happy Ending.
The Intrada album for The Mummy Returns is an all-around more impressive expansion than the label's sibling release for The Mummy. After the nearly minute score presentation and the inclusion of the film's song more on that later , Intrada offers several notable alternative arrangements, some of which featured on the Decca album but all of them testimony to the haphazard editing Silvestri had to make to this work.
Generally, outside of substantial disappointment that Goldsmith's themes did not carry over to the sequel, The Mummy Returns is a resounding success.
In its consolidated presentation, which can be smartly expanded using the Intrada product, the score hits all the right crescendos and pauses just long enough from the ruckus to allow you to come up for air. There are percussive, hand-to-hand battle cues that will clang.
0コメント