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Saw the film earlier today, it was a blast! The action and how it was storyboarded was great, and the visual style Bird and Pixar have been working on really shines here, everything from the whole look of the film - the lighting, the modeling, the way the characters move, down to the individual strands of hair and the fibres of their clothes is rendered better than the last Pixar films and an incredible improvement upon the first me. I think it's not as fresh and as charming as the first film, but it does feel like a continuation of that film, like an extra chapter that shares all the core elements that make it 'The Incredibles'. It's fun and roudy and has its fair share of interesting and nuanced drama - questions concerning the place of Superheros in society, and the complacency of society to take Superheros for granted instead of stepping up and taking responsibility. One of the most refreshing aspects of the film was just how it didn't feel like another superhero film, another Marvel action-fest, it felt like it had more going on. One of the more enjoyable aspects of the film is how Bob is doing the parenting this time, and the antics that come with that and discovering his baby has superpowers - and still powering through it despite how emasculating that makes him feel as Helen takes on the hero duty. The villain and their plot is the only tiny complaint I have with how it is played out. I think if it was setup and fleshed out earlier in the film it might've worked better for me. It's not bad, but I feel the family drama and seeing them work together is more important than the weakness of the villain. The score fits the film like a glove and where the first one felt like a John Barry-esque laiden score, this one definitely had more of Giacchino's voice coming through. There's two dominant themes apart from the main incredibles one (of which gets broken down into smaller motifs) - Elastigirl's Theme and a conspiracy type theme for Screenslaver. Just like the film, I feel the score isn't trying to best or recapture the spark of the original, but as a continuation of it, adding more themes to the story etc. I think there's a few short, quieter cues missing from the album, but I might be wrong.

If I want parody Bond I'll pop in View to a Kill or Die Another Day.

Started to read The Hobbit again (my fist time reading any Tolkien in English apart form small quotes and such!) and I have to say Unexpected Journey, or at least the first half (no Prologue) is an astoishingly good adaptation. The looks, the characters, the dialogue all stay very close to the spirit of the book, but changing important little things when needing to be more cinematic. Like Thorin not falling on his belly with Bombur on top of him the first time we see him, but actually being respectable and respected. Or Bilbo deciding for himself that he's going on this adventure instead of being completely passive while Gandalf literally kicks him out of the door. They work great in the kids' book, but changed like that they become great cinematic beats. Freeman is a perfect Bilbo and nowhere does he show that off better than serving up and trying to tolerate while being polite around 13 Dwarves. Shame they had to make Sir Ian break down for that useless 3D gimmick, though. At least put people in there in green gimpsuits for actual eyes and eyelines!

The Mommy?

Karol

I hate to speak ill of another composer, even in response to the same, but it's painfully obvious that Mr. Davidovsky's page in the history of music will be immensely less significant than John Williams'. What a silly thing for him to say.

I see Davidovsky is of Williams’ generation. He seems to be just another example of how 20th century art music became a snake eating its tail. Academics writing music for academics. Younger composers have largely left that nonsense behind thankfully.

Out of the four threads I could have posted this, I'm choosing this one. Just heard Powell's Hubris cycle. Very impressed. The Prize is Still Mine is a singular work. Powell certainly had a lot of artistic guts to combine rather disparate musical palates, but the final result is surprisingly unified and moving. The Prussian Requiem is an excellent work indeed. Powell's intent and approach is unique, and very well executed. The familiar and the new come together dramatically, making for a complete artistic statement and emotional experience. Requiem Addendum is more traditional, if you will, but the writing is of the highest quality. Powell seems to be reaching great heights. An opera might be a good idea, actually.

Oh, Dol Guldur also absolutely needed to be there. Outside of a silly children's book, it's bloody authorial suicide to make the most OP and popular character just disappear with "I have better things to do" then randomly come back at the end with "I defeated some Necromancer, not important, now let's see whether this thick-headed Dwarf is thick-headed or not!". It had to be shown.

I know he was at the premiere for Grendel, but that's about it. I'd be very surprised if he wasn't a fan. "Newty baby, you did a wonderful job on that score you did for the Harrison Ford piece!" "You mean The Fugitive, John? That was over twenty years ago!" "Oh no, not that one, the one where Harrison is on the plane." "Air Force One?" "That's it! Excellent work, weren't you on a tight schedule?"

I really like that this film has more traditional superhero ideas and values. Crime fighting, secret identity, really colorful (the animation is especially gorgeous), and a absurd viewpoint of powers. I thought it handled all those well, along with the family dynamic that made it standout from the other franchise comicbook movies currently. I didn't think the villain was as strong as Syndrome from the first, but I did like the motive and idea beyond it, and it led to some great action sequences as well. I also really love how they handled Jack Jack's powers. Having Mr. Incredible babysit him, made for some hilarious scenes, and along with Elastigirl's story, changed the dynamic completely from the first. There's a funny Raccoon fight, that especially had my audiences roaring with laughter. Maybe not as good as the first, but that's a high bar to reach for me. I thought this was more then a worthy follow-up.

Star Trek: The Still Picture? (Not far off, I know I, know) Karol

U.K. Marshals? Karol

Both of which celebrate their 30th anniversaries this year. Karol

For the cover!

No, Pinar Toprak did write the Wonder Woman cue in Justice League. Hans Zimmer created the original WW motif with Tina Guo, who played it originally with the electric cello.

She can't be a ghost writer if she's credited, can she? Karol

It’s not like there’s some high bar to clear. There have been plenty of mediocre-to-shitty superhero scores. I hope this score is good, but if it’s not it’s not really evidence of anything larger.

ALL of JW's arrangements are over the top. Where a normal arranger would use one woodwind run JW uses about 62. Where a normal arranger would stop at flutes and plucked violins, JW adds in a harp, a celeste, a piano, a glockenspiel, a "jeu de timbres" (whatever the hell that is), two electric pianos, and God only knows what else... It all pays off in the end, though. To Life, Miracle of Miracles, The Bottle Dance etc...all JW at his best. But my favourite bit is when Johnny goes absolutely bat**** insane towards the end of Tevye's Dream. I listen to it at least once a month it's just so good!

Finally I can listen to The Prussian Requiem again! I remember the concert at the Royal Festival Hall like it was yesterday. The entire piece was great, but it was the last part, "The Gift" which created a kind of electric atmosphere in the auditorium. In the recording, from about 6:00 in that track you can hear the voices of the tenor and bass become distant; this is because they both turn 180 degrees to face the choir standing and singing wordlessly behind the orchestra. It's one of those moments in music where everything falls into place and you feel that the musicians together go beyond merely "playing the notes" and seem to reach into some transcendental sphere. Gosh I get chills listening to it right now! Anyone who's a fan of English classical music in the style of RVW should certainly give The Prussian Requiem a listening.

Nice to see more female composers getting bigger projects, but we all know she didn't get this by talent, she got it because she's a woman. If she creates a great score then I have no problem, but if it's weak then it proves they should go with someone based on talent and not genitals.

Mrs. Pilgrim was going to listen to it at work today - just got this in a text from her.

High-res downloads of Hubris are available exclusively from Powell's official website. Two-channel AIFF, FLAC and ALAC plus 6-channel FLAC. And mp3... all of that for $10.99? Extremely generous. Plus there is a PDF booklet with lyrics etc. You'd be crazy to buy it from anywhere else. CD available from CDBaby (soon will be available from other retailers) And also available in lossy formats from all the usual suspects... Amazon, iTunes etc. Any thoughts about the music? I think it is quite lovely. Karol

Funny, I was thinking Mario is to music history what an aphid is to the history of World War 2.

I guess we'll just have to agree to disagree here. I didn't think the Canto Bight subplot was exhibited excessively. I certainly wouldn't compare its length to the much more exhaustive political scenes in the prequels. I felt we had plenty of time, narrative-wise, to explore what was simultaneously going on with Luke and Rey on Ahch-To.

What's wrong with the prologue? I think those movies are not great, but I remember the prologue being pretty cool. Haven't seen the first one in a few years though.

I am beginning to wonder if JW was perhaps being a bit facetious...especially since Herrmann poked fun at him a few times. I didn't know that. Personally I think JW just got a bit jealous that he couldn't write disco as well as Meco... This reminds me of... OK, maybe that's not totally fair. I am at least happy to see that kind of style work in a film, and work so well.

Excellent! These are not owned by Varese Sarabande! Shame on you!

It's not a bad thing in isolation, but it was annoyingly preachy. It was almost one step away from Rose breaking the fourth wall and berating the audience for allowing this to happen.

I've known people in their 30s more jaded, broken and resigned than Luke was in TLJ. He was totally realistic and relatable.

Apparently, not Psycho.

Good for her. Well deserved.

It is just about the only Star Trek film that is an actual s-f as well. Bit tired of all those action adventure revenge thrillers. Karol

Yup, here: Karol

It's one Horner score where I too find the recording quality disappointing. Might be the mastering, dunno. The love theme should have been incorporated into the end credits but that's a minor nag.

My Signature Editions collection is extensive, but by no means comprehensive.

Indeed! I just wanted to suggest some highlights for Jay to get started.

Fart fetish?

Jesus, Mary and Joseph.

Suddenly I've got a feeling of deja vu. I'll blame it on my LEGO TARDIS.

You're right! Why, it could even have...63 minutes!!

A few video clips of the London Close Encounters. Including 'The Conversation'. (fully orchestrated) and part of the End Credits. Not brilliant quality, but will give you an idea. The Conversation. Opening 'slam' Atonal section. Appearance of the Visitors. End Credits (partial).

Why would you even want to watch this again? Were you a captive audience?

The Glory Days A Capella version! That's just insane!!!

Spider-Man 2 is definitely the best of the Maguire films. Spider-Man 3 could have been good but having two vilians and a sub par plot hurt the movie. At least though in my opinion Christopher Young delivered the best score of the three movies.

Then you have a scene like this. Dude's barely in the movies but owns the role and brings the comic book character to life. There's just no one on this level in the MCU movies I've seen. Now he's wasted in crummy DC movies.

Oy. Making pronouncements like that about an entire score based on iTunes samples is ridiculous.

I think this is it.. From 1:40: