Thousandfold belongs ...

Where do I start? First, I must stress that I certainly think Brian Tyler as a composer for competent, he has isolated his skill set in "Children of Dune" and "Now You See Me" to the test. Therefore, I get the question: Is it the producers that the same pabulum call in any Blockbuster who accompanied for years the epic films, because they know that this arrives at the crowd? I can only hope, otherwise I doubt seriously the ability of today's film composers-generation. Starting with the blacksmith Hans Zimmer, in emulating each the "Grand Master" and the handset so moved at almost any new score to shake of the head. So it happened to me also when listening to "Thor: The Dark World". Although my expectations were not too high, Brian Tyler used but almost in each of his scores have the same cadence, I was speechless at first. This soundtrack is to unimaginativeness hard to beat even when I listen to me almost still prefer "Transformers" on! Knowing Tyler's music, it should not be difficult to see that one the chord progression used here as in "Children of Dune", "partition", "Eagle Eye" and "Battle: Los Angeles" (just to name a few to call) listens. To make matters worse, that Tyler is not only Unfortunately, the recourse constantly to this glorious chord progression, but torment us Hans Zimmer and his apprentices for quite some time as well with the exact same cadence ("Kick-Ass", "8 of view", " King Arthur, "" Stardust, "" Justin and the Knights of Valour "and many others). What initially may still appeared quite appealing, is now after a few years only to pesky spoiled for listeners. This copy-paste technique, as practiced in the room mass factory and of Tyler runs, over time just dead, bursting but it only seems like ideas and lifelessness. Film music should not only accompany the images, but also speak for themselves. If you listen to a John Williams, Ennio Morricone or Bernard Herrmann, one encounters lively, rousing music, the emotions triggered in one and tells a story. The story of the film. That is the job of film music. Today God the focus is, however, unfortunately, on superficial, noisy and with an awful lot of percussion that only to serve to conceal the extremely low musical content, studded music whose testimony remains completely on the track. In keeping with the image this music is all, but it does not have its own character. Everything is interchangeable so you could for example, replace "Transformers" with "King Arthur" and "Robin Hood" and would notice no, because these hardly differ.
In my opinion, it is high time again to reflect on what is important and to be clear about what purpose the film music is: Less is more. If the quality suffers from the quantity, then goes horribly wrong something. The same applies to the film industry in general.

For lovers of Hans Zimmer and epic, not very diverse music, this score is certainly worth the money. Otherwise stay away, one knows a room-like score, one knows all. There are simply taken the constantly same harmonies, rotated once through the mincer and the result is a score like this, would be too much for any output penny!