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Even Beau Dommage got a box set. I mean, come on!

Yea, John Williams has done so many concerts over the last 4 decades, and he's such a well known household name... its pretty ludicrous the first one is finally coming out in 2015

Our review of the Southpaw album. Karol

Our review of the album. Karol

What the hell man... it took you for the man to die to start listening to his greatest music. I'm disappointed.

The Perfect Storm is the Perfect Horner (or at least one of many). It presents his musical ideas at his very best, emotionally satisfying and extremely exciting in places, some of his best action music where I'm concerned. A killer theme which gets a tremendous workout. Long tracks where he developed all these ideas. I just love long developed cues, especially from him. 79 minute length feels just right. I've never ever felt it was too long, not even a minute. The song is the icing on the cake.

What's the SW anthology doing there hiding so it almost doesn't stand out. On a Williams fansite this simply will not do...

Haven't updated this in way too long again, and no point in catching it up. I'll just post my newest batch instead: A Brief History of Time (Philip Glass) The Ghost and the Darkness (Goldsmith) Warlock (Goldsmith) Maleficent (JNH) Les Misérables (Poledouris) Return to Oz (Shire) Judge Dredd (Silvestri) Had the Poledouris for many years on CDR and finally found a used copy for a normal price. SAE shipped the original pressing of Judge Dredd along with a sleeved replacement CD for disc 1.

Copy that. Thanks for clarifying.

It's okay if you are intimidated by my top 9, these are real good pieces, I know :lol: Those are intimidatingly good pieces, for sure. Actually, though, that would be a top 11 list—the first three parts of Iris are separate works, and are threatening to push the last one off the end (although I'm not sure which piece in Braveheart is represented by the title "Theme" anyway). So you'll need to clarify which of those Iris pieces you want to keep, or let BH go.

Oh, he's on the agenda as is Waxman, Tiomkin and Korngold MV

The Reunion. Love how JW infuses a slight artificial touch by the use of synthesizer at 6:42 like reminding us that David is still a mecha when all is said and done, before the (human) emotions seem to overwhelm everything (at 6:55) and the strings kick in... Just masterful. This ending is more subtle, but in its own way as impressive as the ending of E.T.!

Well, thank you. Almost didn't see it, but then, I was like: "Hey, wait a minute..."

Mmm... I might buy Horner's Krull.

Thematic/motivic development in The Hobbit is less circular than it was in LOTR. That's part of what makes it its own animal. In a sense, LOTR was more "there and back again," and The Hobbit is "there and there."

I've been noticing that as I listen to his stuff. Anything piece connecting with flight tends to rise above its companion pieces in a score. "Flying" from The Man Without a Face, "Flight of the Griffin" from The Spiderwick Chronicles, all the material from The Rocketeer and Apollo 13—even the change in mood that takes place in Krull between the moment the fire mares are galloping on the ground and the moment they take flight . . . the subject just seemed to bring the greatest inspiration out of him.

THE PAGEMASTER: Long time no see...at one time in the early 90's it seemed that there was an inexhaustible well of colourful Horner animation scores, and while he sadly never got much recognition out of it he obviously so craved it really was his most magnificent forte: bold thematic writing, master class orchestration, clever eclectic nods to classic and jazz, long and sustained pieces that are doubly amazing if you consider the sketchy nature of what he was scoring - and despite the sometimes poor quality of the movies at hand (like indeed THE PAGEMASTER), Horner saw that obviously as even greater challenge to lift the whole affair. The transparent sham of the movie - in classic Hollywood tradition it fakes its ode to the magic of classic literature by weaseling through Melville's MOBY DICK or Stevenson's TREASURE ISLAND with no loftier aspirations than a second-rate funfair ride with dimwitted sailors and blustery har-har pirates out there just as pastime for Macauley Culkin stranded in Cartoonland - means no defeat for Horner. In his most broad and painterly style he gets from sweet sugar (the main theme, a bow to a secondary theme in GLORY) to russian saber-rattling (some of Williams' POTTER music makes its first appearance in THE LIBRARY) and bright english swashbuckling channeling Farnon (CAPTAIN HORATIO HORNBLOWER) and Rózsa. Probably a hard sell today - it is, after all, no TITANIC, BRAVEHEART or whatever heavy drama score people usually prefer - but in light of Horner's passing it's more than worth a discovery for the sheer fun of the orchestral writing that has all but vanished because what would/could you attach it to? https://www.youtube.com/watch?v=IkBj3Rg3Ixg https://www.youtube.com/watch?v=MRdkSpXq2tA

I've never understood the hate for the synths in Titanic. I love them since day 1. Somebody should release that Titanic performed live to the film one day, I'd buy it.

Yes. John Takis put that together. The music is an edit of "Remembering Childhood" from the OST while the vocals were performed by Demi Fragale, using the lyrics published in a Leslie Bricusse songbook. Here it is. More info http://www.jwfan.com/forums/index.php?showtopic=6013 http://www.jwfan.com/forums/index.php?showtopic=17002

Terminator Genisys A (seemingly) promising but (ultimately) forgettable entry in the (now obviously) never-ending Terminator saga. Like Jurassic World, Superman Returns, and Alien 5 this is a "selective sequel" that completely ignores the previous 2 films no one liked and is a direct sequel to the last one that everyone did. The best part of this film is by far the first 30 minutes or so: We get narration from Kyle Reese as he takes us through Judgement Day in 1997, the start of the human resistance, and the rise of John Connor as their leader, who seems to know a lot of stuff before it happens. These scenes are very well done thanks to them being true to the original Future shown in T1 and T2 (in other words, they use those robots and laser guns and not the stupid new robots and bullet-based weaponry of T4). There are great special effects here and a good action set piece as John Connor and Kyle lead an attack on an LA prison camp where John knows Skynet's time machine is. With Skynet about to lose the war they send the classic Terminator back in time to kill Sarah Connor in 1984; This is done with a body double and CGI makeup and looks good. Then Kyle volunteers to go protect Sarah and now we transition to a very accurate recreation of the first film's 1984 LA setting. We see Arnold arrive and deal with the punks and Kyle arrive and ask the cop in the alley what year it is, and get his clothes and nikes from that department store - but things are DIFFERENT! In this timeline, there's already another Terminator there - a T-1000, which now defaults to a Korean guy instead of Robert Patrick, who tries to kill Kyle, as well as another Arnold unit - but one that is aged - who fights the classic Arnold terminator and then goes with Sarah Connor to rescue Kyle. For reasons never explained, in this timeline Skynet had sent back another T-1000 to the 1970s to kill Sarah Connor when she was nine; They only ended up killing her parents before this Arnold unit showed up and saved her. If you're wondering who sent the two robots back to the 70s, and when and why, and how the Arnold bot was able to destroy a T-1000 at a lake house with no access to a melting pit or acid, well, the movie doesn't ever explain this at all. So now we're here in 1984 with a Sarah Connor who has been "raised" by a Terminator and is more like the badass Sarah or T2 than the meek waitress of T1. Together they have to defeat the T-1000 and figure out why Kyle is having flashes to an alternate reality where Judgement Day never happened. However, this entire story is resolved almost as soon as it begins, and now we transition to the laborious act 2 of the film where our heroes jump forward to 2017 to try to prevent a Judgement Day that is happening then instead of 1997 for unexplained reasons. From here to the end its now action scene after chase scene after CGI this and CGI that as the plot tries to do about 5 different things at once and the plot holes get bigger and bigger and the story makes less and less sense. Every once in a while a clever idea pops up, such as in this timeline Skynet basically uses our society's obsession with social media and "being connected" as a way to get itself into every computer in the world, but nothing is ever explored in any detail and its just an excuse to get to the next chase scene. Don't expect an answer for why Sarah and Pops (as the aged Arnold robot is called) even have a working time machine in 1984 because you won't get one. I have no problem at all with 'turn your brain off and enjoy the ride" summer popcorn movies, but the problem is that this isn't an original movie; This is the fifth entry in an established franchise. And while I don't want every entry to be the same, I do want some standards of writing and character to be maintained. The first 2 films where ultimately just action and chase movies too, but they at least had intriguing concepts and ideas and more importantly - actual character development. You cared about the characters and the situations they got into and wanted to see them prevail, and felt like everything they did was the only choice they had. Here the film never slows down enough to actual let you know the characters (apart from one very good scene of Kyle and Sarah in a locker room) and the way the plot is constructed leaves you scratching your head about why our heroes are doing what they are doing. Like if they have a time machine in 1984 and know Judgement Day will happen in 2017, why do they jump to that point in time, leaving them mere days to save the world? Why not give themselves a few years? Or just stay where they are and make sure any Terminators that show up get fully destroyed? And don't even get me started on the crazy technology the new terminators have, such as dripping a few drops of T-1000 onto a terminator lets it be "upgraded" into a T-1000 of its own, or the film's main villain who is like a T-1000 on steroids doing things that make no scientific sense whatsoever. There are better action flicks to see this summer, and better sci-fi and time travel ideas in other stories. There isn't much to recommend here. Well, Emlia Clarke is nice to look at and there's some good action scenes and really good CGI (for the most part). But don't expect the story to make any kind of sense. Balfe's score was completely acceptable.

The Flying Circus Rocketeer to the Rescue Klingons Stealing the Enterprise A Fighting Chance to Live Universal Studios 75th Anniversary Fanfare The Launch Amazing Grace Death of Titanic Casper's Lullaby

Oh, no apologies necessary. I was just having a little fun with the fact that we always seem to come full circle to Horner's predilection for self-replication. (And it caught my interest because it was the first example of it I ever noticed, back in my early days as a collector.)