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But no though. Allow me to translate: "I didn't like the movie, and am so incapable of dealing with the loss of the entitlement I feel that I compensate for it by saying ridiculous, hyperbolic things about it. See, it's not enough for me to simply say that I didn't like it, and then explain why; THAT might accidentally create a dialogue about it, which is the last thing I want. I'd rather just say that the movie raped my grandmother and decapitated my grandfather, because THAT'S HOW YOU WILL KNOW I MEAN IT."

I've made these because I hate those Disney ones so much.

I'll amend and re-upload with the prequel ones. Jedi with less colour saturation and the prequels.

K

It means someone down the line has missed out on a set because you bought a second!

Bronson Eastern Promises A History of Violence The Departed The Neon Demon Locke In that order. They were all very enjoyable. For the last few weeks, I have somehow rediscovered the magic of a proper movie experience. I somehow feel like a child when watching an intense or emotional film. Especially when it's a film like The Departed and Martin Sheen lands in front of Leonardo DiCaprio I'm like "Oh my fucking god!" I don't know where it's coming from, but I love it.

iTunes? Yuck. Physical>Digital all the way.

Sounds good!

Wooooooow... This is about 100% what I would want for a release like this.

Another gap in the collection filled! One of those albums with longer running time than average human lifespan...but it's mostly very good. Karol

Why two? To keep one in its shrinkwrap? Having JP C&C is the 'wow' thing I can never get over, simply because of how long it took, and that the anniversary set made us believe that no specialty label would get to do it.

No "hanburger"? What a missed opportunity.

I don't have an issue with the existing films, as they are. I think female characters are important: women watching the films need a character to "latch" unto. Gay characters are trickier because where a woman's gender or a black person's ethnicity are readily appearant, one's sexual tendencies are not.

Ferdinand by John Towner Powell Karol

I agree with you about the fallacy of diversity for diversity's sake. And I'm all for a level-headed conversation about the demands of PC-culture how it might be a disservice to certain films. Being truthful to the story you're telling should ultimately be more important than filling in your diversity quotas. I just don't think you were phrasing or presenting these arguments very well in your earlier posts. Most of it just came off as broad, sexist general observations rather than a well-reasoned argument about diversity in film today. You kept asserting the way you differentiate males and females instead of pointing out what that means in this context. So it's hard to grasp what exactly was the point you were making. Well, it wouldn't be much fun if some testicle-kicking wasn't involved now, would it?

The people making these films seem to think that diversity in these films is important, and that it does reflect diversity in our own society. I am all for it, as long as its done realistically. Otherwise, it will feel contrived and may interfere with people "getting into" the movie.

My point is that because women and men have, on average, different attributes (agreeableness being just one of many), they are drawn (again, on average) to different things. If the Resistance were to be portrayed as half female it would be ridiculous. Military organisations are, from the outset, less attractive to women, and so they won't be anywhere near 50/50.

You really can't see, in the near future, people starting to call for movies to represent not just various genders and ethnicities but also their proportions in society? Can you really not see that coming?!

I hate it when people feed obvious trolls.

It also appears in "The Battle of Crait". I'm leaning towards it being a new heroic/Resistance motif... or maybe even a new motif for Poe?

I think they will sound very much the same. The artwork will be the most distinct new feature. @aj_vader Bravo!

Oh, yes! They wanted an actual horse for the opening scene and couldn't efford it. It would have ruined it!

This is fantastic, @Omen II!!! Ron Goodwin has never gotten the acclaim that he deserves!

Heh, massive, sweeping sexism there. The more you learn about people.

Don't tell bollemanneke.

One copy to listen to JP and the other for TLW.

1. The Empire Strikes Back 2. Star Wars 3. Raiders of the Lost Ark 4. Return of the Jedi 5. Indiana Jones and the Temple of Doom 6. Jaws 7. Jurassic Park 8. Superman 9. E.T. 10. The Phantom Menace This was tough as I really wanted to add CE3K and Jaws 2

Agreeableness in one of “the big five”, which are a very well-established psychological term, and women are generally found to be (again, on average) more agreeable, among other things. Again, it’s thankfully very hard to overplay this in films, but as you say, films can nevertheless overplay the diversity issue.

And you know that how? Good for them that you have decided that it's fine. They might have felt differently otherwise, but now they'll just have to accept it and be happy about it. It also implies that men are more assertive and less agreeable, and that's just fine as well, so they won't let women have equal opportunities, but women don't have to worry about it. Because it's fine.

1. E.T. the Extra-Terrestrial 2. The Empire Strikes Back 3. Star Wars 4. Jaws 5. Raiders of the Lost Ark 6. Schindler's List 7. Return of the Jedi 8. The Phantom Menace 9. Jurassic Park 10. Indiana Jones and the Last Crusade Honorable mentions: Indiana Jones and the Temple of Doom, Close Encounters of the Third Kind, Home Alone, The Lost World: Jurassic Park, Seven Years in Tibet.

Chen G is the laughing stock of JWFan this evening for an audience of Santa Monica area women rugby players.

1. Schindler's List - To me, one of the greatest scores ever written, and a worthy addition to the classical canon as well. 2. Close Encounters of the Third Kind - From a symphonic perspective, this is Williams' greatest work. Awe inspiring, a post-modern masterpiece. 3. Jane Eyre - A lovely score, heartfelt, with great grace and elegance. 4. Superman - A subjective favorite. It is a fun score, iconic and all that. There are moments of singular genius, though, like Leaving Home and the Love Theme concert piece. 5. E.T. The Extra-Terrestrial - A classic, and absolutely so. The harmonic textures alone blow my mind. Add the melodies, and I'm in tears. 6. Far and Away - Great score, some of the best melodies Williams has ever written. 7. Hook - Quite fantastic. I hear something new every time I play it. 8.Jurassic Park - Epic. Deliciously overscored, which is just how I usually like it. 9. The Last Crusade - The best of the Indy scores. A lot to like in this one. The classicism is particularly appealing. 10. The Empire Strikes Back - A consummate masterwork. The action music is possibly the best action music ever written for the cinema. And the whole work comes together so well, like a tone poem. Empire of the Sun and Star Wars come a very close #11 and #12 for me.

Well, first, I didn’t say The Last Jedi was too unrealistic when it comes to the depiction of women. Mine was a general comment, voiced against the preplexity that people seem to feel against issues that others may have with equity in film. And women are less “powerful” than men in other regards, too: they’re, on average, quite more agreeable and less assertive than men. But admittedly that’s something you’re going to have to work extra-hard to make feel contrived in film, because film characters - especially in these type of movies - usually manage to accomplish such feats and face such adversity, that you accept that they’re out of the ordinary, anyway. But it is a strong claim against equality-of-outcome in terms of the gender breakdown of the entire cast: as is the case in the real world, some of the roles within this universe (say, within the Ressistance) will be predominantly male, and others - predominantly female; and very few of them, if any, will parallel to size of each gender within the general population. That’s perfectly natural. So if I see cast that is split 50/50 - it’s likely to feel unrealistic and contrived.

One has to imagine that a majority of people who are interested enough in these scores have already purchased a set, or have it through illegal file sharing. But for future generations of Williams fans who will want this set, it seems like a bummer that it's going OOP. Why? The albums are presented separately in the set.

Men are, on average, far more powerful than women. So no. Diversity in films, as in life, should only exist insofar as it conforms to the biological differences between the two genders. Women and men differ in more than just genitalia.

1. Indiana Jones and the Temple of Doom 2. Close Encounters of the Third Kind 3. The Empire Strikes Back 4. Return of the Jedi 5. Superman 6. Jaws 7. E.T. The Extra-Terrestrial 8. Jaws 2 8. Home Alone 2: Lost in New York 9. The Witches of Eastwick 10. Raiders of the Lost Ark

The Lost World The Temple of Doom Jurassic Park JFK Amistad Empire of the Sun The Last Crusade The Witches of Eastwick Rosewood Born on the Fourth of July Presumed Innocent Sorry, no space left for Star Wars, Raiders, E.T., Close Encounters, Hook, Schindler's List, Superman, Jaws or Saving Private Ryan, and it's already Top 11! (That guy is really too good.)

It's a set of scores that should be available separately. I'd buy JP right away.

Over 2,000 people every day. It's perfectly OK that you don't read it but I'd appreciate if you showed some respect for them as well as for the site's editor by avoiding such dismissive generalizations

Well. That is the strangest thing I have read on JWFan in a long time. A long time.

I have no idea. The covers Sony gave us in 2016 (the actual OST LP covers) were terrific, and the reissues by Disney last year were perfectly fine too. I get wanting something "new" for these "new" remasters, but what they went with was..... extremely lazy. And ugly.

Looks better than ST:ID

Yep!

Not exactly "acting", but he appeared in GREMLINS, and (along with Lucas) in TOD. Slough is pretty basic, too.

Apparently it's as overrated as spelling.

Ready Player One (no spoilers) Steven Spielberg has rebooted. Either that, or he's still every bit the geeky kid with the broad wunderkind vision as he was in 1980. Because all the way through this latest fantastical and unabashedly absurd expanse of pixelgasmic cinematic smorgasbord, viscerally imaginative in ways which are often garish in the all-out dazzle of it; yet always spectacular and eye guidingly assured, it was astonishing and yet reassuringly probable to me that this movie was made by the 71 year old director of Jaws and Schindler's List. It now goes without saying that SS is truly the most versatile living director. Who better then than the old king of Hollywood escapism to make the ultimate literal escapist's movie story - one where the chief protagonist finds a release from his bleak and hopeless life in a crammed-in caravan bunk into a virtual reality Oasis of limitless possibilities... so long as a person bases one's digital alter ego on one's favourite video game or movie character. Cue reference upon reference of pretty much all the major pop culture trends of the past thirty years, and these are endlessly delightful! But it is also stunningly cohesive and believable, suspension of disbelief here is effortless. To mention any of this movie's surprise homages and tips of the hat would be a great disservice to anyone who like me didn't have a clue what to expect from this movie going in. But know that it is a treasure trove of knowing winks and vaguely recalled audible cues from other classic media - yet never do these embellishments feel forced or 'too much'. Indeed, I'd say they were intended to be intrinsic to the experience, and they are. It was honestly just one grin after another for me, to spot them all, although mileage with these things may vary I guess. But beneath the virtuoso imagery (and lucid storytelling craftsmanship I expect from this filmmaker) there's a simple story here which is one of the most reliably archetypal and secure. It's basic good versus evil stuff, the little man rising to make a stand against the mean corporate oppressors whom would enslave the weak, or at least make them do hard virtual labour to work of their debt in credits owed to the company. So with the promise of the greatest secret the Oasis has hidden deep within its magical systems up for grabs (its 'easter egg'), as carefully inserted by its maker, the first person who solves the riddles and beats the challenges will inherit it all... the ensuing quest is charming and rollicking, with all the right beats. Sidenote: this is mostly a very well paced action adventure movie - an ultra rare thing nowadays. If I had a criticism here it would be that there is one action sequence too many in the climatic third act, but ultimately I do not find this all that harmful to the film overall. It is relentless by this stage, but then Spielberg saves it with a warm and heartfelt crowd scene just before things were threatening to spoil. The cast are all spot on and they fill their two dimensional and engaging roles perfectly. Ben Mendelsohn is far more dastardly and effective here than he was in Rogue One; Mark Rylance is superb in a role which has the most depth and real vulnerability; and Tye Sheridan is a good little find as the unknown newcomer who will lead his army of computer game character icons to victory. Then there's the side kicks, all of them rather wonderful, I thought. The soundtrack is absolutely fabulous! Psst, Silvestri does okay too, he really does The track list is predictable but no less inspired, and it feels as key to the fabric of the film as any of the geeky references do. That's just it: everything is so well knitted together (I fucking love this level of filmic world building) and everything feels integral to the world Spielberg has created in his adaptation. And he shows that his grasp of music in film isn't limited just to orchestral underscore. All told then, Ready Player One is Tron meets The Matrix by way of a thousand extraordinary 80s, 90s and 00s pop references and it's Spielberg's most enjoyable crowd pleaser since Jurassic Park in 1993. 4.5 out of 5

In honor of the Easter season, there is a very fine and dramatic new Easter cantata by a composer I hadn't heard before named Franghiz Ali-Zadeh and her Passion cantata premiered in 2017 which I think is excellent. The rest of the recording is very good too but I don't know how to link to her work only and it isn't on youtube. She starts on track 8.

In Japan, in the big record stores in Tokyo, you can just buy these Specialty Label soundtrack albums off the shelves.... They always have 3 or 4 copies in stock. How amazing is that?

Hey, no dissing of CINDERELLA LIBERTY -- one of the most entertaining Williams scores of the 70s.

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