Matt C

After the very successful re-release of Lion King 3D (and Disney's subsequent announcement of four 3D re-releases for next year and 2013), it appears that 2012 will have more (3D) re-releases than expected. 2012 Beauty and the Beast - January 13 The Phantom Menace - February 10 Titanic - April 6 Finding Nemo - September 14 2013 Monsters, Inc. - January 18 The Little Mermaid - September 13 I have a feeling more and more studios will jump on the 3D re-release bandwagon if Phantom Menace and Titanic have successful re-release runs. What do you guys think?

Tron Legacy - Daft Punk Every time I listen to it, I'm just blown away by it. The electronics are so well-integrated with the orchestra, and that theme is wonderful. The last four tracks alone are worth buying, the most impressive cues being "Flynn Lives", "Finale" and "End Titles." Everything else is very good, but those cues are just standout. A very pleasant surprise from 2010.

I still don't get why Spielberg choose Bay to direct Transformers in the first place. Bay wasn't even a fan to begin with, and he finally agreed after turning it down once. I think Spielberg would've been better off picking a genuine fan or someone enthusiastic about the project to direct it. A Brett Ratner Transformers would've gone down better, since the guy knows how to stage and edit action sequences. For me, the best iteration of Transformers is the Beast Wars and Transformers Prime series.

Let me say outright how I loathe most of Michael Bay's filmography, including the first two Transformers movies. The guy is a critics' worst nightmare and the gift that keeps on giving for Paramount and audience members worldwide. When I saw Dark of the Moon (worst title ever for a movie) earlier this year, I was fully expecting to hate this one. But I was fully surprised that I found it watchable, and I found it has more than a semblance of plot. Now that I've the Blu-ray combo in hand and watched it, it still has all of Michael Bay's terrible trademarks from the first two movies. Worse is the pacing in the first hour of the movie, where the actual story could be condensed in a half-hour or so. I couldn't care less about Sam without a job or any scene with John Turturro's endlessly annoying character. Josh Duhamel and Tyrese Gibson aren't given much to do, aside from yelling, running and shooting at stuff (again). Even though Megan Fox is out of the picture, Michael Bay is more than happy with ogling the ridiculously hot Rosie Huntington-Whiteley. Then you see this chick running around Chicago in heels as the Decepticons ravage the place, and she doesn't trip and fall (any smart girl would've taken them off). And some plot developments make no sense at all, like Rosie's character convincing Megatron to take on another robot (when did she grow a pair and when did Megatron ever take a human's advice?). Okay, the good: the action. The beauty of Blu-ray and DVD is that you can skip the boring first hour and head straight to the action-packed second hour. ILM and Bay have really outdone themselves this time, and since Bay shot it in 3D, he finally allows the audience to drink in the details of these CGI creations. And the 3D production also forced Bay to edit the movie more slowly, so all the action sequence aren't one incoherent blur but actually exciting. The action goes nonstop until the movie ends, even if the actors yell too much or the plot goes south (which happens regularly). Jablonsky's score isn't as annoying, but I dislike how the temp-track blatantly rips off Zack Hemsey's "Mind Heist". That said, it was fun seeing Patrick Dempsey ham it up as Carly's boss-turned-bad guy, and Frances McDormand and Alan Tudyk in small but throwaway roles. In short: this movie is a great demo disc to show off your home theater and the action is great. Bay haters will want to steer clear of this, while TF movie fans will eat it up. Don't buy it if you're waiting for extras or the Blu-ray 3D release.

Game of Thrones is awesome. I caught it during a free HBO sneak peek and loved the two episodes I saw -- the instant the DVDs go for presale on Amazon, I'm ordering a copy. It's so rich, complex, beautifully shot, and Peter Dinklage is a hoot and a half.

Part 1 is just multi-faceted and I constantly notice new elements in the orchestration and writing (especially the action cues). I haven't been this impressed with a Desplat score since The Golden Compass and New Moon. Try it again -- I'm surprised you haven't liked the action music at least. I wish Desplat had been hired to score Order of the Phoenix and Half-Blood Prince too, and that feeling gets stronger every time I listen to this CD. It's a shame Part 2 isn't as good, score-wise.

I don't see why not. It's still pretty early in terms of the U.S. release, not a last-minute decision made a month or two weeks beforehand.

After Paramount pushed up Tintin to December 21st, Disney and Dreamworks have done the same for War Horse -- it'll be opening Christmas Day instead of December 28th (which was a really odd date to begin with). So two Spielberg movies are opening 4 days apart from one another. This should be an interesting holiday season... http://www.boxofficemojo.com/schedule/?view=changes&p=.htm

Paramount bumped up the U.S. release of Tintin to December 21st, which means it'll be opening against Girl With the Dragon Tattoo and Paramount's own Mission Impossible: Ghost Protocol. Talk about cornering the market. http://www.boxofficemojo.com/schedule/?view=bydate&release=theatrical&date=2011-12-21&p=.htm

No, not really.

Last night's episode was better. Love how Berta will live in the house too -- what a funny character. Kutcher and Cryer are starting to have some good chemistry, but Ashton hasn't interacted with Angus or Holland yet. I think the show's fate is still in the air until the cast can hit it off with Mr. Demi Moore.

Marco Beltrami will score The Woman in Black, which will be released by CBS Films next year: http://filmmusicreporter.com/2011/09/27/marco-beltrami-to-score-the-woman-in-black/

Badelt has etched out his own niche and sound the past few years. Quite unique and compelling.

Robin Hood - Marc Streitenfeld I'm enjoying it, and even though it has significant RC/MV stylings all over it, it's much better orchestrated and there are two nice themes. It can't hold a candle to Korngold's brilliant score or even Andy Price's 2006 TV series scores, but it's a lot better than some score critics are criticizing it for.

Hey... at least I didn't post an image directly this time. But you do have a point -- I'm curious why more cameras have been able to snap pics of a movie directed by someone who definitely values privacy. Batman Begins, Inception, even The Dark Knight to a degree haven't been publicized to the degree TDKR is. Of course, when TDKR went into production, a lot more people were attentive than they were because of how successful TDK is. Then you have to factor in definitions of privacy and public access, especially since they moved production to Pittsburgh rather than move back to Chicago. But to be fair, I haven't seen any scenes shot with Michael Caine or Nestor Carbonell yet -- so at least those will be safe from public eyes until the movie comes out.

More pics of Hathaway as Catwoman: http://comicbookmovie.com/fansites/debbiedowner/news/?a=47085 Love that Julie Newmar vibe.

Dracula would be a great surprise. Saw the movie months ago, and was surprised at how good it was. I expect it to be Hook though.

I was about to make a thread asking about the great music that opens the Universal Orlando site. Then I remembered the 'search' function and lo and behold, you have that cue on a YT link. Thank you!

That was one of the better moments in the film. The way they edited, staged, and spotted it was very emotionally effective. Newell and Doyle nailed that scene to a T -- I was actually holding back tears when I saw the film. But I loathed how everyone's hair is longer in that film. Thank God Yates gave them haircuts for the last four movies.

Mara looks fantastic in the role, and markedly different from Rapace. But I love how all the UK actors in there (Daniel Craig, Christopher Plummer, Joely Richardson) aren't doing Swedish accents -- it's like they're not even trying. I know Craig has done accents in the past (Munich, Cowboys & Aliens) but choose not to do one for Tattoo, which is lame. If you have six months to prepare for a role, that gives one plenty of time to perfect a Swedish accent. I also like how Fincher and Zaillian have made Lisbeth a bit more social compared to the book. Lisbeth's silences work well in the book to illustrate her isolation and reluctance to socialize, but it wouldn't work as well on film.

No, no. I was skeptical when I saw the first photo, but I like the suit in action. There's plenty of room for interpretation here. But the Amazing Spider-Man suit is just bad. It looks like Garfield is wearing a suit made from basketballs or something, and the hands and feet just don't look right. That reboot deserves to make the suit different, but it pales in comparison to the original suit Maguire wore. That design was pure, beautiful simplicity.

The only continuity errors that bothered me was the Emma Frost thing in Wolverine and First Class, as well as Beast. I consider First Class in continuity with the first three X-men films, just for the two cameos by Hugh Jackman and Rebecca Romjin. (Screw Wolverine, that film was awful.)

The first couple of episodes are the roughest patch to get through, and last four episodes are a big improvement. I liked the show overall, and the problems it had could've been dealt with if it had a second season.

Not too memorable by any means. Super 8 is very overrated -- enjoyable but like the film itself, overrated. Captain America is fun, energetic stuff and Priest is solid Young. My hat goes to Desplat's Harry Potter score. Not nearly as good as his Part 1 score, but memorable and wrenching in places ("Harry's Sacrifice" and "The Resurrection Stone" in particular). Shame a lot of his music was edited or dialed down in the final film, though

Yes. Thank you LaLaLand! Bear's work on The Cape deserves some loving. It's a nice touch to see him recognizing Shirley Walker's contributions to the small screen, but it's a shame it didn't become a hit (I would've loved to see him evolve the theme through another season). I actually watched the final episode tonight -- just when the show gets into its own groove and become addictive, the plug's pulled. Oh well, there's still the DVD and CD release to enjoy.