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Bobby Gillespie recommended John Phillips (John the Wolfking of L.A.) by John Phillips in Music (curated)
James Dean Bradfield recommended Slow Dazzle by John Cale in Music (curated)
Stephin Merritt recommended Mother Fist... and Her Five Daughters by Marc Almond With the Willing Sinners in Music (curated)
Movie Metropolis (309 KP) rated Solo: A Star Wars Story (2018) in Movies
Jun 10, 2019
Star Wars goes western
Star Wars has had somewhat of a chequered history since turning over to the dark side, sorry, I mean Disney. You see, since LucasFilm was acquired by the House of Mouse there has been one Star Wars movie each year. The Force Awakens was good, if a little safe and The Last Jedi was brilliant, but incredibly divisive.
What’s been more exciting to see evolve however, is the Star Wars Story movies. Rogue One became my 2nd favourite film in the series after Empire with Godzilla director, Gareth Edwards proving to be a force to be reckoned with. Then, LEGO Movie directors Phil Lord and Chris Miller were hired to direct a Han Solo origins story and that got people very excited indeed.Fast forward a few months and they were unceremoniously dumped from the project during filming with veteran director Ron Howard brought in as their replacements. Howard’s name is a concerning one. He’s become something of a director-for-hire over the last decade: competent but not exemplary. Phew! Keeping up? Good.
The resulting film has been plagued by ballooning costs, expensive reshoots and rumours of on-set acting classes for some of the stars. It’s finally here, but are we looking at the first new generation Star Wars failure?
Young Han Solo (Alden Ehrenreich) finds adventure when he joins a gang of galactic smugglers, including a 196-year-old Wookie named Chewbacca. Indebted to the gangster Dryden Vos (Paul Bettany), the crew devises a daring plan to travel to the mining planet Kessel to steal a batch of valuable coaxium. In need of a fast ship, Solo meets Lando Calrissian (Donald Glover), the suave owner of the perfect vessel for the dangerous mission — the Millennium Falcon.
Thankfully, and by nothing short of a miracle, Solo: A Star Wars Story is engaging, packed full of nostalgia and features an incredible ensemble cast. It’s not perfect by any means, but we’ll get on to that later.
Billed as a heist meets western kinda movie, Solo hits all the right beats to carefully straddle the line between those two genres. The writing is snappy, genuinely funny and engaging with all the cast members doing their fair share of the heavy lifting. Emilia Clarke is great as Solo’s love interest Qi’Ra and Woody Harrelson is as charming as ever in a role that could’ve been serviced by many 50-something actors who could do fancy stuff with a blaster.
It is in Donald Glover however that the film truly belongs. His Lando Calrissian is absolutely, unequivocally sublime. He channels his counterpart from Empire beautifully and you do feel like you’re watching a young Billy Dee Williams in action.
There is some striking imagery throughout the film with the western-style finale being absolutely superb
In fact, there are only two of the main cast members that fail to register in the way that they had clearly intended to do. One is Paul Bettany’s Dryden Vos; the Star Wars universe’s first real villain failure. Alas, it’s not the fault of Bettany. The part was originally written for a CGI motion capture performance but was changed at the last minute with reshoots being added for Bettany’s scenes.
The other, unfortunately, is Han Solo himself. Alden Ehrenreich definitely makes all the right noises. He’s cocky, arrogant, self-assured, just like Harrison Ford, but, for all of his effort, he just isn’t doing a Harrison Ford in this film. Now, that doesn’t ruin the movie as much as you might think it does, as it’s easy to just go along for the ride, but at no point in Solo’s run time did I think we were watching a young Harrison Ford in action. Ehrenreich is good, he’s just not that good.
Thankfully, what is that good is the cinematography. The action is staged beautifully, though I’m unsure as to whether this is Howard’s influence or the previous directors. There is some striking imagery throughout the film with the western-style finale being absolutely superb. The CGI is nicely integrated with animatronics and props, just like a Star Wars movie should be, and each of the set pieces is brimming with excitement.
One sequence in particular, involving the liberation of some slaves is really nicely filmed with a great colour palate and the much-marketed monorail heist is edge-of-your-seat stuff with cracking CGI.
Pacing is generally good, and at 135 minutes that is no easy win though things do drag a little about half way through. What is pleasing however, is how the bromance between Chewbacca and Han takes a backseat up until about 40 minutes before the end in which a familiar theme plays over the action: it’s spine-tingling in its simplicity. In fact, John Powell’s score is rousing when it needs to be and beautifully put together. A real match for John Williams’ classic orchestral soundtrack.
Overall, Solo: A Star Wars Story is better than it had any right to be. Whenever a film goes through such a turbulent production process, it’s always concerning that the final product will be somehow lesser in quality, but this isn’t the case here. It’s not perfect by any stretch of the imagination, but as a continuation of the new Star Wars mantra under Disney, it’s a fitting entry and a great addition to the series.
https://moviemetropolis.net/2018/05/24/solo-a-star-wars-story-review-stars-wars-goes-western/
What’s been more exciting to see evolve however, is the Star Wars Story movies. Rogue One became my 2nd favourite film in the series after Empire with Godzilla director, Gareth Edwards proving to be a force to be reckoned with. Then, LEGO Movie directors Phil Lord and Chris Miller were hired to direct a Han Solo origins story and that got people very excited indeed.Fast forward a few months and they were unceremoniously dumped from the project during filming with veteran director Ron Howard brought in as their replacements. Howard’s name is a concerning one. He’s become something of a director-for-hire over the last decade: competent but not exemplary. Phew! Keeping up? Good.
The resulting film has been plagued by ballooning costs, expensive reshoots and rumours of on-set acting classes for some of the stars. It’s finally here, but are we looking at the first new generation Star Wars failure?
Young Han Solo (Alden Ehrenreich) finds adventure when he joins a gang of galactic smugglers, including a 196-year-old Wookie named Chewbacca. Indebted to the gangster Dryden Vos (Paul Bettany), the crew devises a daring plan to travel to the mining planet Kessel to steal a batch of valuable coaxium. In need of a fast ship, Solo meets Lando Calrissian (Donald Glover), the suave owner of the perfect vessel for the dangerous mission — the Millennium Falcon.
Thankfully, and by nothing short of a miracle, Solo: A Star Wars Story is engaging, packed full of nostalgia and features an incredible ensemble cast. It’s not perfect by any means, but we’ll get on to that later.
Billed as a heist meets western kinda movie, Solo hits all the right beats to carefully straddle the line between those two genres. The writing is snappy, genuinely funny and engaging with all the cast members doing their fair share of the heavy lifting. Emilia Clarke is great as Solo’s love interest Qi’Ra and Woody Harrelson is as charming as ever in a role that could’ve been serviced by many 50-something actors who could do fancy stuff with a blaster.
It is in Donald Glover however that the film truly belongs. His Lando Calrissian is absolutely, unequivocally sublime. He channels his counterpart from Empire beautifully and you do feel like you’re watching a young Billy Dee Williams in action.
There is some striking imagery throughout the film with the western-style finale being absolutely superb
In fact, there are only two of the main cast members that fail to register in the way that they had clearly intended to do. One is Paul Bettany’s Dryden Vos; the Star Wars universe’s first real villain failure. Alas, it’s not the fault of Bettany. The part was originally written for a CGI motion capture performance but was changed at the last minute with reshoots being added for Bettany’s scenes.
The other, unfortunately, is Han Solo himself. Alden Ehrenreich definitely makes all the right noises. He’s cocky, arrogant, self-assured, just like Harrison Ford, but, for all of his effort, he just isn’t doing a Harrison Ford in this film. Now, that doesn’t ruin the movie as much as you might think it does, as it’s easy to just go along for the ride, but at no point in Solo’s run time did I think we were watching a young Harrison Ford in action. Ehrenreich is good, he’s just not that good.
Thankfully, what is that good is the cinematography. The action is staged beautifully, though I’m unsure as to whether this is Howard’s influence or the previous directors. There is some striking imagery throughout the film with the western-style finale being absolutely superb. The CGI is nicely integrated with animatronics and props, just like a Star Wars movie should be, and each of the set pieces is brimming with excitement.
One sequence in particular, involving the liberation of some slaves is really nicely filmed with a great colour palate and the much-marketed monorail heist is edge-of-your-seat stuff with cracking CGI.
Pacing is generally good, and at 135 minutes that is no easy win though things do drag a little about half way through. What is pleasing however, is how the bromance between Chewbacca and Han takes a backseat up until about 40 minutes before the end in which a familiar theme plays over the action: it’s spine-tingling in its simplicity. In fact, John Powell’s score is rousing when it needs to be and beautifully put together. A real match for John Williams’ classic orchestral soundtrack.
Overall, Solo: A Star Wars Story is better than it had any right to be. Whenever a film goes through such a turbulent production process, it’s always concerning that the final product will be somehow lesser in quality, but this isn’t the case here. It’s not perfect by any stretch of the imagination, but as a continuation of the new Star Wars mantra under Disney, it’s a fitting entry and a great addition to the series.
https://moviemetropolis.net/2018/05/24/solo-a-star-wars-story-review-stars-wars-goes-western/
LeftSideCut (3776 KP) rated Star Wars: Episode IV - A New Hope (1977) in Movies
Aug 25, 2019
A bonafide game changer
It cannot be overstated how important and game changing A New Hope was/is.
The first Star Wars film (but 4th chapter of course) is a classic that truly stands the test of time.
Everything managed to hook me in when I first saw it as a young child, from John Williams flawless soundtrack (surely the most iconic movie soundtrack of all time) to the engaging characters.
Characters such as Luke Skywalker, Han Solo, Leia Organa, Obi-Wan Kenobi, and Darth Vader were iconic from the get go.
The set pieces are truly legendary, especially the climatic assault on the Death Star.
All of the locations and planets seem exciting and magical.
The different droids and alien species that we come across are memorable.
All these things that I fell in love with as a child are still intact when I watch it now.
George Lucas lovingly crafted a classic that will always be important.
The first Star Wars film (but 4th chapter of course) is a classic that truly stands the test of time.
Everything managed to hook me in when I first saw it as a young child, from John Williams flawless soundtrack (surely the most iconic movie soundtrack of all time) to the engaging characters.
Characters such as Luke Skywalker, Han Solo, Leia Organa, Obi-Wan Kenobi, and Darth Vader were iconic from the get go.
The set pieces are truly legendary, especially the climatic assault on the Death Star.
All of the locations and planets seem exciting and magical.
The different droids and alien species that we come across are memorable.
All these things that I fell in love with as a child are still intact when I watch it now.
George Lucas lovingly crafted a classic that will always be important.
Nicky Wire recommended Plastic Ono Band by John Lennon in Music (curated)
Karl Hyde recommended Inside Out by John Martyn in Music (curated)
Andrew Kennedy (199 KP) rated Saw II (2005) in Movies
Aug 30, 2019
The best of the Saw sequels and the only one I went to the cinema to see.
The original Saw is fantastic and the twist you dont see coming ending is one of, if not the best I have ever seen.
Saw 2 is nearly as good. The main house trap is a stroke of genius and the solo traps for each of the victims are so well planned and just look so devilious.
Darren Lynn Bousman directs (as he will the new Saw reboot involving Chris Rock) as Tobin Bell, with that amazing voice, retruns to play John Krammer/Jigsaw and he is hunted down by Mark Whalbergs detective Eric Matthews.
This leads to a tense standoff in Jigsaws lair as Matthews discovers his son, Daniel is one of the participants in the house trap. A house slowly filling with nerve gas.
Also returning is Shawnee Smith as Amanda who is also playing the game again in the house.
As the film twists towards its shocking ending you realise all you have to do is follow the rules to win the game.
Game Over
The original Saw is fantastic and the twist you dont see coming ending is one of, if not the best I have ever seen.
Saw 2 is nearly as good. The main house trap is a stroke of genius and the solo traps for each of the victims are so well planned and just look so devilious.
Darren Lynn Bousman directs (as he will the new Saw reboot involving Chris Rock) as Tobin Bell, with that amazing voice, retruns to play John Krammer/Jigsaw and he is hunted down by Mark Whalbergs detective Eric Matthews.
This leads to a tense standoff in Jigsaws lair as Matthews discovers his son, Daniel is one of the participants in the house trap. A house slowly filling with nerve gas.
Also returning is Shawnee Smith as Amanda who is also playing the game again in the house.
As the film twists towards its shocking ending you realise all you have to do is follow the rules to win the game.
Game Over
Bob Mann (459 KP) rated Solo: A Star Wars Story (2018) in Movies
Sep 29, 2021
Solo? So-so.
When the whole Disney “broaden out the Star Wars universe” thing was first mooted I was NOT enthusiastic about the prospect. Then, in Christmas 2016 “Rogue One” burst onto our screens as a breath of fresh air, and I thought “OK, I can be wrong!”. But even jolted by that pleasant surprise, I always thought that the second proposed diversion off the main hyperspace highway into “Radiator Springs” – a Han Solo back-story flick – might fall short. It just didn’t float my boat.
Add into that proposition the decision to give the film initially to “The Lego Movie” directors Phil Lord and Christopher Miller (why Disney? why?); them trying to forge it as a ‘comedy’; them falling horribly short and being fired by Disney; Disney bringing Ron Howard (“Inferno“, “Rush“) in to try to salvage the project; and Howard reportedly re-shooting 75% of the film and you have the makings of a turkey of galactic proportions.
With all that being said, I was surprised I enjoyed it as much as I did. But that’s off a very low base of expectation.
As you might guess, we go back to see Han… just Han… as a delinquent youth trying to keep his head above water under the thrall of the Fagin-like Lady Proxima (who – no pun intended – keeps her head under the water for most of the time). He is desperate to pull off a con that’s lucrative enough that it will get him and his girlfriend Qi’ra (Emilia Clarke, “Me Before You“; “Terminator: Genisys“; “Game of Thrones”) off-planet and into a free life. Things don’t go to plan though and Han – now Han Solo – finds himself a trooper of the Galactic Empire. He links up with fellow rogues Beckett (Woody Harrelson, “War for the Planet of the Apes“; “Three Billboards in Ebbing, Missouri“), Val (Thandie Newton, “Westworld”, “2012”), Rio (voiced by Jon Favreau, “Spider-Man: Homecoming“; “Iron Man Three“) and their assertive and rebellious droid L3-37 (voiced by Phoebe Waller-Bridge) in a get-rich-or-die mission for vicious gang-boss Dryden Vos (Paul Bettany, “Avengers: Infinity War“).
The film has its moments for sure:
There are some nice background touches: an army recruitment video plays to the sound of John William’s empire march (played I am assured by my more musical wife in a major key to sound more uplifting and positive!);
Han’s first meeting with that famous walking carpet (played by Joonas Suotamo) is memorable, as is the introduction to that “card player, gambler and scoundrel” Lando Calrissian (Donald Glover, “The Martian“, “Spider-Man: Homecoming“): all flamboyance, self-regard and well-dressed ego;
solo2
Never count your money while you’re sitting at the table. Lando Calrissian played by Donald Glover putting his ship (you probably haven’t heard of it) on the line. (Source: Lucasfilm).
the character of L3-37 is an excellent addition to the saga, forcefully demanding equality for droids: I would have liked to have seen much more of her;
there is a nice twist on the Greedo/Han “who shot first” debate;
production design and special effects are up to standard for a Star Wars film, and I enjoyed John Powell’s score, incorporating a new ‘young Han’ theme from John Williams himself;
and Erin Kellyman (in here movie debut) is just breathtaking and strikingly brilliant as the be-freckled renegade Enfys Nest.
But overall it’s all a bit disjointed and jumbled, probably as befits its growing pains. We are introduced to Solo within five seconds of the film’s opening….. BAM! No exquisite ‘reveal’ as we saw with River Phoenix in “Indiana Jones and the Last Crusade”. I found this disconcerting and it took me ten minutes to get into the film as a result.
When it gets going it rather tries too hard to join up more Star Wars dots than it needs to. “Rogue One” did that exceedingly well, but that was because it needed to as ‘Episode 3.5’. Here there are visual and verbal references everywhere as the screenwriters (Lawrence and Jonathan Kasdan) desperately try to knit their story into the canon. As an example, the action moves to the mines of Kessel at one point. Kessel? Kessel? Wasn’t that a throwaway C3PO line from the “A New Hope” about being “smashed to who knows what” in said mines?. So obviously, in the WHOLE GALAXY that’s where the story leads us, with the local lingo for the hyperspace fuel McGuffin at the heart of the plot being “spice”! It’s all a bit too trite for my liking.
And while a key protagonist appearing near the end of the film (no spoilers) is both a startling surprise and great fun, don’t get me started on the timeline implications…. (see the spoiler section below the trailer for more).
Alden Ehrenreich, who was just brilliant in “Hail Caesar” (“Was that it t’WERRRE so simple“) for me barely makes it past bland in the lead role. One of the defining characteristics of Harrison Ford’s Solo was his swagger and bravado and unfortunately Ehrenreich barely rates a three out of ten on the scale. I also found the chemistry with Emelia Clarke to be lukewarm. Clarke still seems to be struggling to make a significant breakthrough to the big screen…. “Me Before You” still seems to be her high water mark so far. Here she has a key and complex role, but comes over as just plain unconvincing and “meh”.
Ron Howard has clearly done a good job in buffing up a poisoned chalice so it can at least share space on the Star Wars shelf without being laughed out of the Cantina. Perhaps with a more coordinated and thought-through run-up to a Solo sequel (more Enfys Nest please!) this offshoot might have legs.
Add into that proposition the decision to give the film initially to “The Lego Movie” directors Phil Lord and Christopher Miller (why Disney? why?); them trying to forge it as a ‘comedy’; them falling horribly short and being fired by Disney; Disney bringing Ron Howard (“Inferno“, “Rush“) in to try to salvage the project; and Howard reportedly re-shooting 75% of the film and you have the makings of a turkey of galactic proportions.
With all that being said, I was surprised I enjoyed it as much as I did. But that’s off a very low base of expectation.
As you might guess, we go back to see Han… just Han… as a delinquent youth trying to keep his head above water under the thrall of the Fagin-like Lady Proxima (who – no pun intended – keeps her head under the water for most of the time). He is desperate to pull off a con that’s lucrative enough that it will get him and his girlfriend Qi’ra (Emilia Clarke, “Me Before You“; “Terminator: Genisys“; “Game of Thrones”) off-planet and into a free life. Things don’t go to plan though and Han – now Han Solo – finds himself a trooper of the Galactic Empire. He links up with fellow rogues Beckett (Woody Harrelson, “War for the Planet of the Apes“; “Three Billboards in Ebbing, Missouri“), Val (Thandie Newton, “Westworld”, “2012”), Rio (voiced by Jon Favreau, “Spider-Man: Homecoming“; “Iron Man Three“) and their assertive and rebellious droid L3-37 (voiced by Phoebe Waller-Bridge) in a get-rich-or-die mission for vicious gang-boss Dryden Vos (Paul Bettany, “Avengers: Infinity War“).
The film has its moments for sure:
There are some nice background touches: an army recruitment video plays to the sound of John William’s empire march (played I am assured by my more musical wife in a major key to sound more uplifting and positive!);
Han’s first meeting with that famous walking carpet (played by Joonas Suotamo) is memorable, as is the introduction to that “card player, gambler and scoundrel” Lando Calrissian (Donald Glover, “The Martian“, “Spider-Man: Homecoming“): all flamboyance, self-regard and well-dressed ego;
solo2
Never count your money while you’re sitting at the table. Lando Calrissian played by Donald Glover putting his ship (you probably haven’t heard of it) on the line. (Source: Lucasfilm).
the character of L3-37 is an excellent addition to the saga, forcefully demanding equality for droids: I would have liked to have seen much more of her;
there is a nice twist on the Greedo/Han “who shot first” debate;
production design and special effects are up to standard for a Star Wars film, and I enjoyed John Powell’s score, incorporating a new ‘young Han’ theme from John Williams himself;
and Erin Kellyman (in here movie debut) is just breathtaking and strikingly brilliant as the be-freckled renegade Enfys Nest.
But overall it’s all a bit disjointed and jumbled, probably as befits its growing pains. We are introduced to Solo within five seconds of the film’s opening….. BAM! No exquisite ‘reveal’ as we saw with River Phoenix in “Indiana Jones and the Last Crusade”. I found this disconcerting and it took me ten minutes to get into the film as a result.
When it gets going it rather tries too hard to join up more Star Wars dots than it needs to. “Rogue One” did that exceedingly well, but that was because it needed to as ‘Episode 3.5’. Here there are visual and verbal references everywhere as the screenwriters (Lawrence and Jonathan Kasdan) desperately try to knit their story into the canon. As an example, the action moves to the mines of Kessel at one point. Kessel? Kessel? Wasn’t that a throwaway C3PO line from the “A New Hope” about being “smashed to who knows what” in said mines?. So obviously, in the WHOLE GALAXY that’s where the story leads us, with the local lingo for the hyperspace fuel McGuffin at the heart of the plot being “spice”! It’s all a bit too trite for my liking.
And while a key protagonist appearing near the end of the film (no spoilers) is both a startling surprise and great fun, don’t get me started on the timeline implications…. (see the spoiler section below the trailer for more).
Alden Ehrenreich, who was just brilliant in “Hail Caesar” (“Was that it t’WERRRE so simple“) for me barely makes it past bland in the lead role. One of the defining characteristics of Harrison Ford’s Solo was his swagger and bravado and unfortunately Ehrenreich barely rates a three out of ten on the scale. I also found the chemistry with Emelia Clarke to be lukewarm. Clarke still seems to be struggling to make a significant breakthrough to the big screen…. “Me Before You” still seems to be her high water mark so far. Here she has a key and complex role, but comes over as just plain unconvincing and “meh”.
Ron Howard has clearly done a good job in buffing up a poisoned chalice so it can at least share space on the Star Wars shelf without being laughed out of the Cantina. Perhaps with a more coordinated and thought-through run-up to a Solo sequel (more Enfys Nest please!) this offshoot might have legs.
Cet (105 KP) rated Solo: A Star Wars Story - Soundtrack by John Powell in Music
Jul 15, 2018 (Updated Jul 15, 2018)
Has a Star Wars Feel but not quite memorable
I received a gift copy for this review.
TL;DR It belongs in Star Wars but not memorable enough to make it Star Wars. In other words I doubt you'll hear any of these themes in any fan films.
Let's face it John Williams won't be with us forever. He's closing in on 90 and I've read Episode IX will be his last with Star Wars. Lucas Films getting him to work with other composers is the best thing they could do. However why John Powell? This is not a young buck. Lucas Films needs to get their act together in keeping some regulars. Especially on the tech department.
Now to the review.
I've listened to this soundtrack 3 or so times. To John Powell's credit every track belongs in the star wars universe. However no composition here including the scores by Williams is memorable. We don't have a Duel of Fates, Across the Stars, or my favorite Binary Sunset. These themes if you don't know them by title you will know them by sound, and you will immediately have a visual to go with it.
There are a few tracks that conjure certain scenes from the movie. I'm not sure if that's due to the title of the theme or credit to Powell. The Corellia chase for one is catchy. Capturing an old west feel and Han's gun slinging, and hijacking of a land speeder. However when I watched the movie I don't even recall this theme. I had to listen to the composition while writing this paragraph. So although fitting for the character and setting it's forgettable.
When I stated there isn't any music here that's memorable, that's not entirely true. Around 20 seconds into The Adventures of Han begins a beautiful arrangement. It's short sweet and even repeats 29 seconds in Corellia Chase, and 1 minute 24 seconds into Break Out. This short 10 second snippet should've been treated like Indiana Jones. A recurring theme that we could've linked to Han Solo himself.
On the other hand perhaps the writing and the visual of the movie also holds the music back. I'm fairly sure the above arrangement appears in a few other songs. The movie was 2 hours of action packed scenes. There was no tension due to the fact we knew what was coming. The few characters that I got attached to didn't have their own theme. They should've capitalized more on Vos, Beckett, and even the romance with Qi'ra. None of these characters had a theme.
The music here belongs in Star Wars. It's hard to imagine them anywhere else. In previous Star Wars films the music was just as memorable as the scenes though. If I were to compare it to anything else it would be The Avengers. I couldn't hum any of the compositions, but if I heard em i'd probably recognize where it's from. A image wouldn't go with it, and that's just not Star Wars enough.
TL;DR It belongs in Star Wars but not memorable enough to make it Star Wars. In other words I doubt you'll hear any of these themes in any fan films.
Let's face it John Williams won't be with us forever. He's closing in on 90 and I've read Episode IX will be his last with Star Wars. Lucas Films getting him to work with other composers is the best thing they could do. However why John Powell? This is not a young buck. Lucas Films needs to get their act together in keeping some regulars. Especially on the tech department.
Now to the review.
I've listened to this soundtrack 3 or so times. To John Powell's credit every track belongs in the star wars universe. However no composition here including the scores by Williams is memorable. We don't have a Duel of Fates, Across the Stars, or my favorite Binary Sunset. These themes if you don't know them by title you will know them by sound, and you will immediately have a visual to go with it.
There are a few tracks that conjure certain scenes from the movie. I'm not sure if that's due to the title of the theme or credit to Powell. The Corellia chase for one is catchy. Capturing an old west feel and Han's gun slinging, and hijacking of a land speeder. However when I watched the movie I don't even recall this theme. I had to listen to the composition while writing this paragraph. So although fitting for the character and setting it's forgettable.
When I stated there isn't any music here that's memorable, that's not entirely true. Around 20 seconds into The Adventures of Han begins a beautiful arrangement. It's short sweet and even repeats 29 seconds in Corellia Chase, and 1 minute 24 seconds into Break Out. This short 10 second snippet should've been treated like Indiana Jones. A recurring theme that we could've linked to Han Solo himself.
On the other hand perhaps the writing and the visual of the movie also holds the music back. I'm fairly sure the above arrangement appears in a few other songs. The movie was 2 hours of action packed scenes. There was no tension due to the fact we knew what was coming. The few characters that I got attached to didn't have their own theme. They should've capitalized more on Vos, Beckett, and even the romance with Qi'ra. None of these characters had a theme.
The music here belongs in Star Wars. It's hard to imagine them anywhere else. In previous Star Wars films the music was just as memorable as the scenes though. If I were to compare it to anything else it would be The Avengers. I couldn't hum any of the compositions, but if I heard em i'd probably recognize where it's from. A image wouldn't go with it, and that's just not Star Wars enough.