Meet the Spartans () - IMDb
Instant sound button of This is Sparta!!. - This is madness! - Madness? THIS IS SPARTA!!. Myinstants is where you discover and create instant sound buttons. The heroic Spartan king Leonidas, armed with nothing but leather Jason Friedberg and Aaron Seltzer in Meet the Spartans () Carmen . Sound Mix: end credits, there are some alternative scenes and outtakes to watch See more ». Meet the cast and learn more about the stars of Meet The Spartans with exclusive Set Decorator; Costumes; Casting; Special Effects; Sound; Make Up; Stunts.
Rise of an Empire is utter crap ignore for a moment that the main villainess, Artemisia, was much wiser than depicted and thus survived the warhistory placing the principle characters of this tale in different places at the time and place of its supposed setting.
With a weaker hero in this sequel, Rise of an Empire wasn't the stunning success of its predecessor, but that didn't stop the production from at least attempting to emulate what little positive buzz remains from the previous film's score by Tyler Bates.
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That music for by Bates, of course, is the most famous studio-acknowledged incident of plagiarism in modern film music history, Bates lifting portions very clearly from Elliot Goldenthal's Titus without altering it enough to avoid censure.
Rise of an Empire, Bates is understandably gone, but the plagiarism astonishingly remains. Snyder, now serving primarily as writer and producer for this second film, originally had rising Argentinian composer Federico Jusid signed to write the music.
Later in the production process, however, Snyder did what any filmmaker with more marketing prowess than artistic sensibility would do: What replacement did he exit with?
Tom Holkenborg, otherwise known as electronica artist Junkie XL. Holkenborg had been under the roof of Remote Control for several years, originally collaborating with Harry Gregson-Williams before becoming one of Zimmer's primary collaborators on The Dark Knight Rises, Man of Steel, and a number of other projects.
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It should come as no surprise that the score for Rise of an Empire is a purely Remote Control effort, the entire crew of the score saturated with its employees. What's more laughable is the fact that the filmmakers of this franchise decided not to avoid much pretext about plagiarism for the sequel despite the public punishment lingering from the predecessor.
Instead, they simply hired a composer for whom plagiarism of the desired sound was not only acceptable but expected. The music resulting from Holkenborg is nothing more than rehashed ideas from numerous Zimmer-led scores, mainly those in the Batman and Superman franchises, and some of the similarities are laughable. Who knew, for instance, that the backstory of Artemisia would be identified musically with that of Bruce Wayne?
Hearing the swooshing cape effect here does make you wonder. And what about the drum barrages from Man of Steel for the naval escapades in this film? Does Superman need a bronzing agent for his abs, too?
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And what of the low brass and string action anthems? The lamenting female vocals?
The pounding on key incessantly? Holkenborg reportedly did so well emulating the Remote Control sound that Zimmer didn't "need" to step in to assist him or assign a number of hapless ghostwriters to the cause. The irony of Holkenborg's involvement here is that he claims to have done a significant amount of research in preparing for this score, involving a sitar, duduk, and a variety of other ethnically viable instruments for the occasion, the types of items he doesn't normally work with.
He even went so far as to authorize a recreation of an ancient Greek flute. Unfortunately, these elements only sound like sad cliches as utilized; in fact, he may as well have just employed a kazoo from the John Powell playbook as far as most listeners are concerned. It's doubtful that "A Beach of Bodies" would have been received differently. Likewise, the effect of the mournful vocals has reached a new low in Rise of an Empire, the duo of "Xerxes' Thoughts" and "Queen Gorgo" languishing in vague middle-Eastern lamentation that would reside nicely on a world new age album but sounds cheap in this context.
If you want to extend the plagiarism debate, compare "Queen Gorgo" to Trevor Jones' Cleopatra television score from the late 's. The track sounds healthy and punchy, with nice low bass that supports the lame jokes well, and a clean and polished feel to the rest of the spectrum.
Surrounds are moderately engaged, with a few pronounced discrete effects and decent atmosphere. The music is well-balanced in the mix along with dialogue, so I had no volume level issues.
The source is also predictably clean of any defects. A perfectly adequate presentation. Special Features 2 Stars out of 5 'Meet the Spartans' hits Blu-ray and standard DVD with a matching set of extras that look fairly impressive when listed on the back of the box.
Make no mistake, however -- these wafer-thin supplements are about as nourishing as the flick they support. It's clear that the production team had a ton of fun making the movie and that they have a ton of fun talking about it; I wish I could say the same about listening to them. Their comments on the film basically amount to a bunch of in-jokes and brief on-set stories that aren't particularly interesting.
Don't expect any detailed production info either, aside from slight talk about the bad "special effects. On-set interviews and plenty of film clips pad out the slight 5-minute runtime.