Arpy

Ok score.  Its win convinced me that even with a narrative/highly acclaimed film and a weak field of nominees, John Williams will never win a sixth Oscar.  
 
The "anything but John Williams" choice
 

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.

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

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.

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

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.

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...

Awesome, day 1 purchase. Hope they will release (fixed) Rogue One as well.
 
Karol

https://www.instagram.com/p/CpImd-av2qO
 
Coming to Intrada on a 2 CD set!
 

Olivier Deriviere's score for the game 'Remember Me': it's an interesting experiment in manipulating orchestral recordings to reflect the memory-altering abilities of the main character. Sometimes it sounds strange and abrasive, but for the most part there's some great textures and themes that always draw me back to it. I haven't played the game, but I don't care, I just like the music!
 

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...

You know what this made me think of?
 
That Star Wars' 40th, then Empire's 40th, then Star Wars' 45th, and now ROTJ's 40th all went by without Disney Records commissioning complete score releases of the OT

I don’t understand the criticisms against its length. Every time I listen to it I like it more and more. What a little gem and Gem really feels like the right word too. Like a little jewel, to marvel at how perfectly constructed it is. Its not set in anything lavish, theres no real ornament to it, it’s just a pretty jewel. There’s a lot of beauty in simplicity.

As much as Haab can mimic Williams, he's missing the heart of the music, the soul. At least Giacchino can produce more endearing themes.

Not sure where to post this, but just finished my oil painting of Howard Shore and thought I'd share it. 

 
I actually decided to open a separate artwork dedicated thread in 'other topics' for anyone to share their artwork.

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:
 

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

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

Just watched Love and Monsters. I've loved Dylan O'Brien since The Maze Runner and more recently, Teen Wolf and here, he's the leading force of the film and a conduit for the comedy mostly coming from the witty dialogue. It's 1hr 48mins short and that's my major gripe, it's too damn short and certain plot elements are squashed because of the runtime. 
 
It's kind of made in the same mould as Zombieland with a dash of How To Train Your Dragon, with the main character a hopeless weakling who makes a compendium of the monsters he encounters and his confidence grows the more he overcomes his fears. All in all, it's just a bit of harmless fun that does nothing particularly new to push the genre, but what it does deliver is something charming, if a little undercooked and woefully short. In the Netflix streaming era, I would think had they optioned it for a limited series, it might've worked better in long form than a film presentation, but maybe it's just meant to be something digestible and enjoyed for what it is: a nice, summer film with some cgi monsters and a few laughs.
 
Marco Beltrami and Marcus Trumpp's score is like other Beltrami scores - it's kind of relegated to the background with maybe one or two noteworthy cues that fit the film well. It's a kind of throwback to old monster movie scores, but doesn't really standout other than in the end credits.