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Oh, absolutely. Don't bother with the bonus tracks, but the main program that fills disc 1 and goes into disc 2 is a pleasure to listen to, much more varied and interesting than any prior presentation due to the wealth of additional underscore that really lets all the highlights breath. It has a great ebb and flow, build and release

This set is.....bananas. The first Goldsmith score has incredible punch. My god, what a triumph. I’ll be up all night listening.

Mega haul today - been waiting since April for most of these

Blade Runner 2049 Roger Deakins takes the visual pallette of Ridley's Blade Runner and expands on it, and kinda makes it his own. A visually gorgeous film with images that will linger in the mind for some time. As a production, 2049 is top notch on about every level actually. From production design to acting, the special effects and its very well directed. So has Denis done the unthinkable? Kinda. It plunges one back into the Blade Runner world in such a way that I felt at first i was watching a new story, new characters set in that universe. Once 2049 began to directly refer back to Rachael and Deckard....I dunno, it pulled me out of it a little bit. The film feels like an continuation and expansion of the "plot" of Blade Runner. 2049 actually feels like it has more plot than the original film does. Or its more interested in that plot. I don't think that is a flaw perse, but I did feel the movie was pushing it's ideas more than the original. Perhaps inevitable? Villeneuve takes great care to match certain style choices from the original film, but for some reason it lacks the...exentricity of it? In 2019 the Replicants often behaved slightly off-kilter and had seemingly non-sequitor dialogue. In 2049 this seems...less so? Perhaps the modern Nexus models are just a bit less interesting? Same for the score, which takes its inspiration from Vangelis without overtly copying his score (save one cue). It feels like a very fitting upgrade. Technically "better" than the Vangelis score...but there's something missing. Same for the costume design maybe I won't knock this film too much though, because it is at times a seriously impressive effort. And possibly the best follow up to Blade Runner there could have ever been?

The cinematography by Bradford Young stood out for me because it looked both very similar and very different to his other work we surely know here, Solo. Whereas there the use of only practical, low lighting was gimmicky, cumbersome, irritating and made things harder for the viewer, here it actually serves a purpose - the only true bright light comes from the aliens, everything else, all the human world is dimmed and not as important. They also say in the extras they wanted it to take place on a bad, rainy Tuesday morning, which was achieved and fits perfectly.

You don't _play_ something as transcendental as a David Cage _experience_ (the childish term "game" cannot suffice here), moron. You should go back to your generic, non-immersive Zeldas and Maddens.

Apollo 13 and Dances With Wolves expansions are amazing

Arrival (2016) -SPOILERS WITHIN- If you have not seen this movie and would like to or have been planning to, I recommend you watch before reading this. The possibility of the existence of extra-terrestrial life forms has always sparked the curiosity of mankind, and nowhere is this more evident than in cinema. Many of the most beloved and popular movies ever made revolve around this prospective notion, and while not only being connected by the presence of alien beings, science fiction films of this nature are often linked by a far more profound core. Bearing no exception, Dennis Villeneuve’s Arrival features a seven-legged alien species referred to as heptapods, and mainly focuses on their arrival on Earth, their interaction with humans thereafter, and their eventual departure. Nonetheless, the resounding message of the film revolves not around these mysterious beings, but rather human life itself, and when this thread reaches its fulfillment in the film’s touching epilogue the result is beautiful and undeniably moving. The aliens are merely a channel through which a broader discovery is made, and the way Villeneuve so wonderfully captures this is enough to gain my respect. What’s more is that this underlying key is not even shown to us on massive scale, but rather in the life of a single person, bringing us right down to the very heart of the story. The intrigue sees linguist Louise Banks (Amy Adams) and physical theorist Ian Donelly (Jeremy Renner) recruited to a research team by Colonel Weber (Forest Whitaker), after 12 unidentified objects appear around the globe. Banks and Donelly eventually discover that these shells are indeed inhabited by alien life forms, and that they are to enter inside and attempt to communicate with the visitors. Teams around the world attempt similar contact missions but are unable to make any significant discoveries regarding the strange language of the heptapods, offering a side of globalism in a film that already says so much about the human race. They struggle to ask and answer the “big question”: why are they here? There’s no direct or glaring influence from other sci-fi ventures here, but comparisons can still be drawn quite easily. Take 2001: A Space Odyssey for example, notorious for extended sequences of subjective and immersive silence, and for next to no dependence on dialogue as a storytelling device. Arrival tends to embrace this trait at times, with a good deal of the script being unsubstantial talking, mostly over intercoms or radios. On that note, this is neither a film that is over-fond of silence, and there’s a great balance of explanation between both words and visuals, the latter of which is quite effective, honing in on Kubrick’s ability to squeeze every second out of a shot through staging and sense of duration, to a degree. Wide and panning shots of the shells evoke that sense of mysterious awe that surrounded 2001’s Monolith. There’s certainly a lot of air, as in, room to take things in and breathe at work. As Kubrick’s Monolith seemingly blessed prehistoric man with the knowledge to create and use tools, so to do Villeneuve’s heptapods offer a gift for humanity. Their sense of time allows them to see the future. When one submerses themselves into their language (which in a way is the essence of their existence) they inherit this ability. This manipulation of time is the key to decoding the chronology of the film's events, and while some may be able to interpret the timeline before it’s glorious yet subtle revelation, not an ounce of its incredulousness is lost. Villeneuve throws in a variety of “flashback” sequences, even opening the film with what we believe to be the life story of Louise prior to the visitors’ arrival. These moments give us a glimpse of Louise’s time with her daughter, and eventually reveal that she separated from her husband. And then we are given sequences, mostly in the final act, which we immediately perceive to be premonitions because of their subject matter. These flashbacks and future flashes appear to us as central to the film’s story, but we don’t quite understand why. Did something in Louise’s past foreshadow the alien beings? Is there some spiritual connection between her deceased daughter and the heptapods? In most other cases, these possibilities would be the wrap-up that many other creative minds would go through with, and the audience would depart having seen a decent yet somewhat rudimentary sci-fi effort. What we get from Villeneuve and company exceeds this. In fact, it excels beyond this. All of these moments were Louise’s glimpses of the future as she slowly became immersed in the language of the heptapods. The opening is resolved in the closing, and it’s beautiful. I should hate to spoil anything beyond this point even though I’ve pretty much tied everything together here, but the payoff is best when one views it for themselves. Arrival is a journey. We don’t know quite when and where we are on the journey until we perceive it all in the end. It's carefully crafted and has a heart that’s deeply beautiful. Highly recommended. **** out of **** Any discussion regarding the intricacies of the film, and even the thumbs-up score by Johann Johannsson is welcome hereafter.

Doesn't look like it does, other than some clean openings

Really excited now to listen to Dances! Thanks for all the great comments!

One of the problems of BR 2049 are the uninteresting and rather ordinary villains. In Blade Runner, even though most have very little screen time, we could sympathise with their quest for life. It almost made Harrison Ford seem like the real villain of the movie. That particular reversible perspective is gone in BR 2049.

Continuing, a few years after the books finish. The main character conveniently has amnesia in the first two games to make things easier for the game-only audience. At the very least I can honestly recommend the first two books, which are collected episodic short stories, the first setting up the world, the second going deeper into the main character's psyche through his relationships with different kinds of women.

Yes! Comics have one-shots and they have small usually 6-issue runs, and sometimes they have larger events - and each writer/artist has a different spin on the same character. And there are in-continuity stories, and all-ages stories, and specifically out-of-continuity stories. And every once in a while when in-continuity gets too overloaded, they just say "screw it" and reboot the whole thing. Lucasfilm did the same thing with Star Wars. These things aren't some grand masterminded sagas! Like the comics, they're consumable serial entertainment for fun, and if they can pack in a little pathos in there, they're going above and beyond.

I can't get enough of DANCES WITH WOLVES. The LLL set is defintive. Epic and transcending in all respects.

Sure, but you're also describing mainstream comic books too. They also have to just keep putting out stories with no true end to ever write towards

This cinematic universe trend, spread around separate movies, with post credits teasers for the next episode, it's something that honestly I just wish it would go away

The Lynch version is pretty irreplaceable, imo.

I agree with you. I've never saw the point of it even if Ridley did. Of course we all know why 2049 didnt make a profit, they were missing one vital ingredient, right @Alexcremers?

Worms? Bring it on!

Excellent haul, @JTWfan77. SKY CAPTAIN, is great, as is the LETHAL WEAPON set. DANCES WITH WOLVES speaks for itself...

Who doesn't love Wilam Dufoo?

Fascinating. Not "Deckard Unit".

I don't think 2049 has the power to make the same creative impact like the first one has. It will be what 2010 is to 2001.

At least it was only one 3-hour film!

Looks like Season 5 definitely won’t be the final season https://www.thewrap.com/better-call-saul-gene-takovic-post-breaking-bad-bob-odenkirk/?utm_source=share&utm_medium=ios_app

"When Steve almost lifted Thor's hammer in Age of Ultron it was TOTALLY planned, with Endgame in mind!"

A lot of people seem to think adapting a book is to make a movie thats as faithful to the written page as possible. PJ's LOTR worked because he didnt do that. He used the book as source material to make the films. Spielberg and indeed Kubrick also never shied away from straying away from the source material to make the film they wanted to make. I admire that more than slavishly trying to stay faithful to something thats a different medium.

Its not "continuity", its the overrding storytelling, which by the way is the whole point of making more than one film, in the first place.

I don't mind long films if I feel involved in what I'm watching.

Definitely, though I always hear how well-planned and thought out the MCU is, especially the little hints and links to all their films - which is just absurd. Thanos wasn't really built up at all.

The best follow-up to Blade Runner would have been not making a follow-up at all.

The MCU really isnt all that tight-knit once you begin to think about it too much.

Just saw the deleted scene. Corny beyond words. Yeah, this movie just ain't for me. I feel I am completely over the MCU now.

I have to revisit the score as I don't have any recollection of it. Total Recall by Jerry Goldsmith Star Wars Episode II Attack of the Clones by John Williams Lincoln by John Williams Seven Years in Tibet by John Williams War of the World by John Williams Young Sherlock Holmes by Bruce Broughton Assassin's Creed: Syndicate by Austin Wintory

I was watching Minority Report and reminded of a really great moment. Colin Farrell can't get into the precog room and then suddenly Tom Cruise marches in like a boss while the camera follows him in tightly. "Ident John Anderton approved for entry." I miss Spielberg like William H. Macy missed fishing in Jurassic Park 3.

A New Carpet from Aladdin The Mole from Fantastic Mr. Fox Up to the Cathedral from The Hunchback of Notre Dame

He was one of Newman's teachers. It shows in interesting ways.

WITH MALICE TOWARDS NONE from ABSENCE OF MALICE. MAN Vs BEAST from MAGIC MIKE XL THE BIG JOLT! from THE GREEN MILE THE HUNT from AS GOOD AS IT GETS, WHAT WOMEN WANT, CAST AWAY, and MAD ABOUT YOU. How's that for "effort", Bes?

The three main themes of this movie: the pain of aging, the importance of male friendships, and fucking hippies ruined everything.

I find everyone of John's scores plays better in expanded form than OST arrangement. The man just writes so much great music for every project he's hired for, it's always worth obtaining it all

The whole album is unintentionally hilarious. They somehow managed to turn the end credits from ESB in to something from a comedy. Get a load of their Superman disco cover too! Definitely not the same London Philharmonic that went on to record LOTR.

It would be fun if Shore directed and Jackson wrote the music.

The entire half of Revenge of the Sith that was unreleased - It Can't Be, the music for Obi Wan's Utapau adventure - leaving Coruscant, arriving on Utapau, leaving Utapau, I am the Senate, parts of the Mustafar duel that were left out, film mixes of cues etc. etc. Jesus, these prequel scores needed two disc releases upfront!

The Lion King (2019): The Lion King by Hans Zimmer by hahah123 Covers, on Flickr The Lion King by Hans Zimmer by hahah123 Covers, on Flickr The Lion King by Hans Zimmer by hahah123 Covers, on Flickr The Lion King by Hans Zimmer by hahah123 Covers, on Flickr Spider-Man: Homecoming: Spider-Man: Homecoming by Michael Giacchino by hahah123 Covers, on Flickr Spider-Man: Homecoming by Michael Giacchino by hahah123 Covers, on Flickr Spider-Man: Homecoming by Michael Giacchino by hahah123 Covers, on Flickr Spider-Man: Homecoming by Michael Giacchino by hahah123 Covers, on Flickr Spider-Man: Homecoming by Michael Giacchino by hahah123 Covers, on Flickr Spider-Man: Homecoming by Michael Giacchino by hahah123 Covers, on Flickr

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John Williams scored Star Wars and The Force Awakens. *mic drop*

Anyone else like The How Works? And also, I'm terrible with themes in this series, so I gotta do some research before I can comment too much,

I've been working on Williams's action music lately, and as part of this project I put together a little super-cut of everyone's favorite tune, the "Ludlow Motif". Let's see how long it is before YouTube decides to take this down. Am I missing anything? There are corners of the War Horse and BFG scores I'm not so familiar with where this gesture may lurk..