NL197

The end credits of Hacksaw Ridge have Horner’s name “in memoriam”. Not sure about Great Wall though.

Buyer beware, though. Older titles are less likely to be true surround mixes, but rather fake stereo-to-surround upmixes. All those titles above are contemporary, so those should all be legit (like Avatar The Way of Water is), however an older title like Braveheart is a fake surround upmix.

Eww. Not at all.

That cast member is:

play it at time code 1:07. Also: 18 seconds into this one Then: play at 3:51 and also 5:10 Now, it’s not as bad in Insurrection but in US Marshals it’s basically the main theme and holy shite…I mean it’s kind of fun when you hear that over Tommy Lee Jones unmasking himself in a chicken costume, but by the time you get to the big chase sequence on a subway train the score is so loud and in the audience’s faces it’s just ridiculous, and not in a fun over the top ridiculous way, but a “hey turn that down it’s too loud” kind of way.

The one and only "complaint" I have about the Insurrection albums are that neither of them have the softer fade out for the end of "New Sight" as heard in the film. For many years I've tried but never nailed to achieve that in editing. It's such a beautiful cue and then that harsh brass interruption (not heard in the film when the Son'a ships arrive over the planet.) Whenever I listen to the album I immediately reach for the volume when I know it's coming.

I despise that brass idea in US Marshals. It’s beyond obnoxious in that score compared to Insurrection. The score in Marshals is so overbearingly mixed. Takes me out of the movie.

https://ew.com/movies/avatar-the-way-of-water-digital-release/ This details all of the bonus features.

The end title sounded 100% verbatim to the standard one they've used. They've only deviated from it a couple of times and in those cases it was the orchestra-only version for season 1 episode 7 (same as the one Goransson conducted at the season 2 premiere livestream with the socially-distanced musicians) and the strings-only version in the season 2 finale.

I think the reveal of who was responsible for both issues taking place also explains Riker behaving the way he did.

The opening sequence of this third episode was filled with Horner’s danger motif!

The score for this episode was all over the place, but enjoyable as it was like taking Eidelman, Horner and Goldsmith and throwing them all into a blender. Eidelman brass and snare here, Horner woodwinds and strings there, Goldsmith rhythms and punctuations taken from TMP...it's a Star Trek Music Melting Pot. The episode itself, on the surface it's as though they retained some of the edge of seasons 1 and 2 (which are both trainwrecks) but remembered that these characters were from another time in Trek history and finally gave them some respect and enthusiasm. It's a step up for sure.

I think that's an issue with the theater's projection itself. I saw it yesterday afternoon and the colors were exactly as I'd expect - it looks like a 4K upgrade to the Blu-ray in terms of its colors....which unfortunately means it's got the same yellowish tint. The Blu-ray from 2012 has the standard 2D in Cinemascope, and the 3D in open-matte. Both look the same in terms of their revised color timing change, but no 'poor greyish' color you speak of. I chose the IMAX screening expecting it to be the same open-matte aspect ratio as the 2012 IMAX release / Blu-ray 3D version. To my surprise it was the CinemaScope version on an IMAX screen. That's not a film issue, but a theater issue. It boasts a crystal clear image without a hint of grain, but every intricate detail, every bead of sweat, Billy Zane's glued-on hairline, all razor sharp. The effects shots are obviously (and understandably) softer, but not dramatically so. It was not a HFR presentation so I can't comment on that. IMAX doesn't have Atmos / DTS-X so it was the standard 5.1 audio.

Graham Foote (and his ensemble) did the vocals for "Living in The Age of Airplanes", and then the "Pandora" attraction music, but he did NOT work on Horner's Avatar score in 2009. The vocalists who carried over from the 2009 Horner score are Clydene Jackson, Terry Wood (you see them in the behind-the-scenes material on the Blu-ray) along with Carmen Twillie and Lisbeth Scott (Scott also performed on Amazing Spider-Man as well)