Romão

This may have been mentioned before, but I had no idea the Dial of Destiny was based on an actual artifact: This is very interesting stuff

I can only imagine the core cast gets significantly more expensive with each new movie

It's one of the very few Marvel movies and scores that I really enjoy. It's flawed, surely, but at least it had a concept behind it, it aimed at something, it wasn't generic

From IGN's negative review: A returning John Williams remains a saving grace, providing grand musical motifs and familiar tunes at just the right moments. and Earnest final efforts from Harrison Ford and John Williams couldn’t rescue a movie so directionless and haphazard Great post. Although, we only got a score like Azkaban because it was made shortly after the first two movies. Had the movie been released years later as a sort of "Legacy Sequel", no way would've they asked or allowed JW to score the movie the way he did

Indeed. Afterlife was so reverential to the original Ghostbusters that it is almost of contradiction of the spirit of the original movie. It's like that movie was made as sequel to the status the first movie gained in pop culture rather than as s sequel to the movie itself

I wanted to scream at the director and screenwriter after I watched it. It's absolutely horrendous. I have never watched it since

That's absolutely fair and comes down to personal preference. But we're in absolute agreement that it doesn't quite fit with Indiana Jones

Exactly. It's absolutely cloying. Also, makes it absolutely impossible for the next movie to ignore those events. You can even pretend this new movie is set before KOTCS, due to Ford's age. It makes the Indiana Jones movies slaves to two of the buzz words I hate the most in current blockbuster filmmaking: continuity and canon (others would be Cinematic Universe and post-credits scene).

The Indiana Jones trilogy did not have the slightest concern for continuity, and it was all the better for it. You had a small reference to the Ark of the Convenant in TLC and a nod to the sword trick in TOD. You can watch them in any order, no previous knowledge of any of the films is required. Now, of course, the opening sequence of Raiders and the last scene of TLC work really well as opening and closing chapters for the character, but doesn't mean the movies have to even be seen in that order. Characters and love interests come and go without any need to explain what happened in the meantime. That would only drag the movies down. Now, this obviously only really works with an ageless hero. Indy seems to be roughly the same age in all three movies. When you've let so many years pass between movies and Indy is obviously much older, the hero is no longer ageless. The order of the movies ceases to be insignificant. And adding to that, when you introduce marriages and sons into the mix, you can no longer ignore continuity. You can no longer make characters come and go without explanation. You've shot yourself in the foot, basically. These movies can no longer be what they were conceived as. It becomes impossible to make an Indiana Jones movie in the same spirit. It is folly

And I think it really benefits from being allowed to be its own thing, not having to pay lip service to previous movies and scenes. Sometimes I feel bad for JW when he's constantly being asked to play his greatest hits one more time

Honestly, I much rather have a great score on album than a great movie, but it wouldn't hurt to have both. If the movie is indeed lackluster, it's another lesson that good things from the past should be well left alone. You can't go back to you childhood. You must let of your toys. Stop fighting back

That looks terrific

This is getting really mixed reviews off its Cannes premiere

Ah that's great, I've always loved the Grieg piece, and had never made the connection before. Sounds pretty obvious now 🙂 thank you for this

I was always particularly fond of this little tune from the soundtrack of the original movie:

Ah, Laura is an unforgettable theme. But it probably helps that I listened to it and to Laura Palmer's theme nearly non stop when my niece Laura was born

Well, Ran has one the all time greatest film scores, so you're safe in that regard

Totally agree. But I discovered The Robe through this suite, so it deserves kudos for opening my ears to a really great score

The Bride of Frankenstein still takes the crown to me, but I agree, that performance has never been bettered. Not even by Williams. Prince Valliant is also terrific. I simply adore the suite from The Robe on the Newman album

It seems that if you order the Hardcover edition, you can get the Softcover edition at a reduced price and shipping

Is there an option to buy more than one copy?

The Waxman album is my favourite of the whole series. Sunset Blvd, Taras Bulba and specially The Bride of Frankenstein have never sounded better Absolutely agree with this top 5. The Rózsa is a weird one, for as good as it is, I don't really think it covers the composer's best stuff. I also have a soft sport for the Newman

You're the second person this week to make that recommendation (the first was @Miguel Andrade). I really should look into and listen to it. I have actually been to the pirate ship they've built for the movie. It's at the harbor of Genova

My wife watches this with the interest and zeal I watch a World Cup final, so I make an effort to watch it with her. But it can get quite unbearable sometimes. A lot of it is a celebration of bad taste. It makes what is merely passable to really stand out

I ended up paying 9 €. Less than I feared, actually, but the whole endeavor ended up a bit pricey. Still happy I contributed somewhat to its fruition