Arpy

I don't know about this music - every minute it's a game of 'Ooh that sounds like this Williams cue from this score'. It irks me too much to be able to enjoy it. Powell and Giacchino have adapted their styles to Williams work without emulating so completely.

This is fucking brilliant news! Gold is one of the best composers for television - I can't describe how brilliant it was to hear the evolution of the music from 2005 to 2017 as the budget increased, so too did Gold's access to orchestrate and record the scores with a full symphony orchestra. By 2010 the scores had the size and opulence of any big Hollywood film score.

Inoffensive, ephemeral film that didn't take any creative risks whatsoever. Typical Tyler score that favours loudness over all else. Kinda what I expected when I heard this film was released.

Around the time of the release of the Deathly Hallows book, my friend and I had a discussion about whether or not they would consider doing a reboot of the films sometime in the future. His response was that a reboot was inevitable, but only after enough time had passed after the films. Do I think enough time has passed after the films? Not really. Then we get to the question of why make a reboot in the first place? Some might consider the fidelity of the films lacking when it comes to the books, and fair enough, there are some important chunks missing from the films that ought to have been represented on the big screen. The most important question, however. that can't be answered until we see this series, is what does this reboot do differently that justifies it's existence? The shadow of the films will loom large over this reboot and that's what's going to be very difficult for the filmmakers to get out from under if they wish to have a successful show that produces its own legacy...

Yep, felt disjointed from the Mando/Katan story. Music this time was a bit hit and miss, but I loved the little March of the Resistance camel.

You know what, Williams has nothing left to prove, but for fuck sake can't they just give him this one last one.

Fuck sake, what a load of shit.

I thought the CG on the giant monster was particularly good, better than a lot of other CG creations in films these days. Better than Jurassic World Dominions' dinosaurs...

That is so egregious, I don't know how they even let that through...

How have we come to 2023, with advancements made in CGI, and any studio thinks 'You know what, this looks acceptable to release'. It looks awful. All of the intrigue and power of Burton's gothic Batman is stripped bare by lazy CG. It honestly doesn't evoke any sense of nostalgia and instead makes me feel sad that THIS is how Keaton chooses to return...

Decomposition

Urgh. Indy on the horse looks like CG trash.

Someone managed to record me ageing before that ever happens and sped the footage up, it's nasty:

TFA all the way! I hate to be the contrarian here, but it's also probably the most cohesive, developed and concise film in the Sequel Trilogy, and the music was fresh and the return of Williams' to the series since 2005!

Divert your attention to this truly terrifying piece, so foul it must've come from no place other than the depths of the lowest circle of hell. https://www.cbr.com/dcu-move-away-john-williams-superman-theme/ In all honesty, I don't find the idea detestable, because Superman as a character has changed and so much so in the Man of Steel that to attach Williams' theme betrays the character and the composition.

This show really was a slow starter, but now it's truly great. Love every second of it. I love the sense of fear and uneasiness of the prison subplot and all the individual parts of the Rebellion slowly coming together. It's about time the Empire was given some really toothy substance other than just being generic bad guys. The one aspect of this show that betrays it's Star Wars roots is the music which still remains anonymous. It certainly sets a mood, but it's incongruous with the sound of the rest of the universe and lacks any sort of thematic sensibility. This series is shaping up to be better than Mandalorian (for me).

RoS's Speeder Chase incident is still too fresh in my mind - one of Williams' last truly heroic action set pieces utterly ruined in post.

If nothing else grabs you as Star Wars in this show, it should be the affectation and reverence the filmmakers have put into the aesthetics, of which in some scenes look like they've been pulled from Empire. Mothma's Dinner was reminiscent of Lando's quarters in Empire. I thought this latest episode was particularly good, from the writing, the acting and the production - the only thing I'm not yet sold on is Andor's character, so I'm hoping it develops into something meaningful...

In one way, yes, and when it defined what a particular group of people sounded like, or becoming intrinsically linked to a place or a person or an idea and the iconic imagery of Star Wars - to then cut it out and replace that familiar sound with something alien is just jarring and unnatural. This isn't to say we have to reference old themes, it's to say that the way that music was presented is what's important and why Rogue One and Solo work well to keep that homogeneous sound. Then you have Obi-Wan, which is what happens when you take two different approaches and try and mash them together with mixed results...

I really love aspects of this show, but after 45 minutes each week, it feels like nothing happened in an entire episode! The music is inoffensive - a word I hate - but best describes how it functions and to be honest, it's difficult to feel like Star Wars without the template Williams set. It's too modern, too minimalistic and afraid to have any identity.

I thought the first two episodes were quite aimless and ended as if we're meant to feel some sense of wanting to see more. The music is alright, it's definitely more sound design and further away from the Williams' sound than the other composers, and the production design is very retro Star Wars - keeping the same feel as Rogue One. The CSA or whatever they are seem redundant when you have billions of Stormtroopers - and their uniforms remind me of the orange tips toy guns are painted with to signify they're toys:

This reaction on this forum is very typical; some have set up the idea of the score in their minds before going into which will undoubtedly affect how they receive it once it's out.

I would say after listening to Bear's scores for other TV series, like Outlander and The Walking Dead, he's particularly good at textural work - which is promising for Rings. Clearly, there's been some attempt to evoke Shore's approach in the two tracks that were released, but I'm still reeling that Shore didn't get to write for the series or provide more themes. I don't think we've heard a TV score as richly thematic as what he could've provided. I wonder if Shore wanted to do more, but out of the tremendous costs to the rest of the show, they relegated him to the single theme.

People still don't understand why I listen to this 'noise' and as much as film scores have shifted somewhat in terms of becoming more popular, I still think it's considered by many people to be a novelty more than an actual genre of music one can listen to. It's sad.

It sounds like it took inspiration from Ragnarok. I saw the film the other day and the score really isn't a big part of the film. Two themes stuck out - the two-part main theme and the theme for Gorr and his daughter. The rest was either underscore or just not prominent enough to be interesting on its own or with the film.