lairdo

Just finished my third start to finish listen.
 
Listening experiences:
1. Last night sitting at my desk with my nice desktop speakers. 
2. This morning while running via the Atmos version in Apple Music but on AirPods Pro 2, so not sure how much Atmos I was really getting. Noise cancelling.
3. Was at my work desk listening on Sony headphones (wired, non-noise cancelling) - but I was working so it was not a real active listening
 
I am finding the album a pleasurable listen in all of these situations. I really, really like the new action pieces. Airport was a standout in the theater to me and it does not disappoint on the album. In fact it is probably better than in the film (and it was well mixed for the film but still lots of sound effects). The travel pieces are really lovely. And as I did during the movie, I really like Helena's theme in all its uses (some of which are not on the album). I think JW got inspired by the character and while it fits in the movie where used, its large representation on the album reflects JW's personal taste. (There might be some amount of thinking towards the Oscars where a lot of Raiders March will seem old and the Helena's theme will seem new. That would be more of a Disney thing than a JW thing.)
 
A good test for my enjoyment was how much I focused on the music when running, and I found that until I got to the reprise of the Helena's theme with violin that I was attentive throughout. (I have not built the playlist order of my choosing yet, so this was all OST.)
 
Alas, my run today was 1:15 so I had to start over the album to fill the last 8 mins! 
 
I also listened on and off throughout the morning including briefly driving to work and also on my Sonos Arc 5.1 system via AppleTV. That all sounded great. I look forward to more dedicated listening like this.
 
Overall, as an album, I am very pleased. 
 
I do agree that I want a more rousing album conclusion, and that will be filled with a rip of the end credits off the home video release (if not done sooner in some other way). (Although as pointed out, the end credits don't really end up in that manner - so again I may be back to the Berlin recording of the Raiders March.)
 
 

But does it belong in a museum?

To Athens does that's for sure 😀

Just finished my third start to finish listen.
 
Listening experiences:
1. Last night sitting at my desk with my nice desktop speakers. 
2. This morning while running via the Atmos version in Apple Music but on AirPods Pro 2, so not sure how much Atmos I was really getting. Noise cancelling.
3. Was at my work desk listening on Sony headphones (wired, non-noise cancelling) - but I was working so it was not a real active listening
 
I am finding the album a pleasurable listen in all of these situations. I really, really like the new action pieces. Airport was a standout in the theater to me and it does not disappoint on the album. In fact it is probably better than in the film (and it was well mixed for the film but still lots of sound effects). The travel pieces are really lovely. And as I did during the movie, I really like Helena's theme in all its uses (some of which are not on the album). I think JW got inspired by the character and while it fits in the movie where used, its large representation on the album reflects JW's personal taste. (There might be some amount of thinking towards the Oscars where a lot of Raiders March will seem old and the Helena's theme will seem new. That would be more of a Disney thing than a JW thing.)
 
A good test for my enjoyment was how much I focused on the music when running, and I found that until I got to the reprise of the Helena's theme with violin that I was attentive throughout. (I have not built the playlist order of my choosing yet, so this was all OST.)
 
Alas, my run today was 1:15 so I had to start over the album to fill the last 8 mins! 
 
I also listened on and off throughout the morning including briefly driving to work and also on my Sonos Arc 5.1 system via AppleTV. That all sounded great. I look forward to more dedicated listening like this.
 
Overall, as an album, I am very pleased. 
 
I do agree that I want a more rousing album conclusion, and that will be filled with a rip of the end credits off the home video release (if not done sooner in some other way). (Although as pointed out, the end credits don't really end up in that manner - so again I may be back to the Berlin recording of the Raiders March.)
 
 

Just finished my third start to finish listen.
 
Listening experiences:
1. Last night sitting at my desk with my nice desktop speakers. 
2. This morning while running via the Atmos version in Apple Music but on AirPods Pro 2, so not sure how much Atmos I was really getting. Noise cancelling.
3. Was at my work desk listening on Sony headphones (wired, non-noise cancelling) - but I was working so it was not a real active listening
 
I am finding the album a pleasurable listen in all of these situations. I really, really like the new action pieces. Airport was a standout in the theater to me and it does not disappoint on the album. In fact it is probably better than in the film (and it was well mixed for the film but still lots of sound effects). The travel pieces are really lovely. And as I did during the movie, I really like Helena's theme in all its uses (some of which are not on the album). I think JW got inspired by the character and while it fits in the movie where used, its large representation on the album reflects JW's personal taste. (There might be some amount of thinking towards the Oscars where a lot of Raiders March will seem old and the Helena's theme will seem new. That would be more of a Disney thing than a JW thing.)
 
A good test for my enjoyment was how much I focused on the music when running, and I found that until I got to the reprise of the Helena's theme with violin that I was attentive throughout. (I have not built the playlist order of my choosing yet, so this was all OST.)
 
Alas, my run today was 1:15 so I had to start over the album to fill the last 8 mins! 
 
I also listened on and off throughout the morning including briefly driving to work and also on my Sonos Arc 5.1 system via AppleTV. That all sounded great. I look forward to more dedicated listening like this.
 
Overall, as an album, I am very pleased. 
 
I do agree that I want a more rousing album conclusion, and that will be filled with a rip of the end credits off the home video release (if not done sooner in some other way). (Although as pointed out, the end credits don't really end up in that manner - so again I may be back to the Berlin recording of the Raiders March.)
 
 

That's a complex question. In terms of spending money to hear John Williams music, I would posit you do not have a problem, and given the situation and common courtesy, your actions are entirely consistent with the members of this message board. (So, you have a problem, but we all have the same problem and that's ok.)
 
But we can question a few things you may want to work into your travel planning. 1. Always expect to need to hear John Williams music. Pack at least 3 pairs of earphones in case the first 2 break. Keep a set of 3 in all your bags. Cannot have enough redundancy. 2. If you did not buy the most expensive headphones (not just overpriced) at the shop, are you really showing enough care for the Maestro's music? 3. How could you even plan to travel when a soundtrack is imminently going to release. I mean they gave us 2 weeks notice, and you didn't change your trip?
 
And finally - why did you need headphones. Shouldn't you be playing your phone on super loud so everyone on the plane and in the airport can be uplifted with their dose of John Williams?
 

 
Have a safe trip and enjoy the music!

That's a complex question. In terms of spending money to hear John Williams music, I would posit you do not have a problem, and given the situation and common courtesy, your actions are entirely consistent with the members of this message board. (So, you have a problem, but we all have the same problem and that's ok.)
 
But we can question a few things you may want to work into your travel planning. 1. Always expect to need to hear John Williams music. Pack at least 3 pairs of earphones in case the first 2 break. Keep a set of 3 in all your bags. Cannot have enough redundancy. 2. If you did not buy the most expensive headphones (not just overpriced) at the shop, are you really showing enough care for the Maestro's music? 3. How could you even plan to travel when a soundtrack is imminently going to release. I mean they gave us 2 weeks notice, and you didn't change your trip?
 
And finally - why did you need headphones. Shouldn't you be playing your phone on super loud so everyone on the plane and in the airport can be uplifted with their dose of John Williams?
 

 
Have a safe trip and enjoy the music!

That's a complex question. In terms of spending money to hear John Williams music, I would posit you do not have a problem, and given the situation and common courtesy, your actions are entirely consistent with the members of this message board. (So, you have a problem, but we all have the same problem and that's ok.)
 
But we can question a few things you may want to work into your travel planning. 1. Always expect to need to hear John Williams music. Pack at least 3 pairs of earphones in case the first 2 break. Keep a set of 3 in all your bags. Cannot have enough redundancy. 2. If you did not buy the most expensive headphones (not just overpriced) at the shop, are you really showing enough care for the Maestro's music? 3. How could you even plan to travel when a soundtrack is imminently going to release. I mean they gave us 2 weeks notice, and you didn't change your trip?
 
And finally - why did you need headphones. Shouldn't you be playing your phone on super loud so everyone on the plane and in the airport can be uplifted with their dose of John Williams?
 

 
Have a safe trip and enjoy the music!

That's a complex question. In terms of spending money to hear John Williams music, I would posit you do not have a problem, and given the situation and common courtesy, your actions are entirely consistent with the members of this message board. (So, you have a problem, but we all have the same problem and that's ok.)
 
But we can question a few things you may want to work into your travel planning. 1. Always expect to need to hear John Williams music. Pack at least 3 pairs of earphones in case the first 2 break. Keep a set of 3 in all your bags. Cannot have enough redundancy. 2. If you did not buy the most expensive headphones (not just overpriced) at the shop, are you really showing enough care for the Maestro's music? 3. How could you even plan to travel when a soundtrack is imminently going to release. I mean they gave us 2 weeks notice, and you didn't change your trip?
 
And finally - why did you need headphones. Shouldn't you be playing your phone on super loud so everyone on the plane and in the airport can be uplifted with their dose of John Williams?
 

 
Have a safe trip and enjoy the music!

That's a complex question. In terms of spending money to hear John Williams music, I would posit you do not have a problem, and given the situation and common courtesy, your actions are entirely consistent with the members of this message board. (So, you have a problem, but we all have the same problem and that's ok.)
 
But we can question a few things you may want to work into your travel planning. 1. Always expect to need to hear John Williams music. Pack at least 3 pairs of earphones in case the first 2 break. Keep a set of 3 in all your bags. Cannot have enough redundancy. 2. If you did not buy the most expensive headphones (not just overpriced) at the shop, are you really showing enough care for the Maestro's music? 3. How could you even plan to travel when a soundtrack is imminently going to release. I mean they gave us 2 weeks notice, and you didn't change your trip?
 
And finally - why did you need headphones. Shouldn't you be playing your phone on super loud so everyone on the plane and in the airport can be uplifted with their dose of John Williams?
 

 
Have a safe trip and enjoy the music!

That's a complex question. In terms of spending money to hear John Williams music, I would posit you do not have a problem, and given the situation and common courtesy, your actions are entirely consistent with the members of this message board. (So, you have a problem, but we all have the same problem and that's ok.)
 
But we can question a few things you may want to work into your travel planning. 1. Always expect to need to hear John Williams music. Pack at least 3 pairs of earphones in case the first 2 break. Keep a set of 3 in all your bags. Cannot have enough redundancy. 2. If you did not buy the most expensive headphones (not just overpriced) at the shop, are you really showing enough care for the Maestro's music? 3. How could you even plan to travel when a soundtrack is imminently going to release. I mean they gave us 2 weeks notice, and you didn't change your trip?
 
And finally - why did you need headphones. Shouldn't you be playing your phone on super loud so everyone on the plane and in the airport can be uplifted with their dose of John Williams?
 

 
Have a safe trip and enjoy the music!

That's a complex question. In terms of spending money to hear John Williams music, I would posit you do not have a problem, and given the situation and common courtesy, your actions are entirely consistent with the members of this message board. (So, you have a problem, but we all have the same problem and that's ok.)
 
But we can question a few things you may want to work into your travel planning. 1. Always expect to need to hear John Williams music. Pack at least 3 pairs of earphones in case the first 2 break. Keep a set of 3 in all your bags. Cannot have enough redundancy. 2. If you did not buy the most expensive headphones (not just overpriced) at the shop, are you really showing enough care for the Maestro's music? 3. How could you even plan to travel when a soundtrack is imminently going to release. I mean they gave us 2 weeks notice, and you didn't change your trip?
 
And finally - why did you need headphones. Shouldn't you be playing your phone on super loud so everyone on the plane and in the airport can be uplifted with their dose of John Williams?
 

 
Have a safe trip and enjoy the music!

I definitely agree with this statement. I guess the PR folks that Cannes would produce advance buzz in a way that I think has largely disappeared for a movie. I queued for hours ahead of Temple of Doom and Last Crusade (and even a little bit for Raiders although I went to a 10 am showing). Now, we all generally have assigned seats and going to the movies (if we even go) becomes just part of our overly scheduled lives thanks to cell phones and voice assistants. And before anyone types that I sound like Old Indy from the original cuts of The Young Indiana Jones Chronicles, I assure you I am not cranky about the movie or soundtrack.
 
As I wrote on another thread after the Premiere, I very much liked the movie. I agree with @Archive Collection that the film fits very nicely within the 5 films and dozens of hours of TV stories. And for that I am grateful. I truly look forward to seeing it a second time Friday morning with my wife (who has not seen it yet as I was only offered 1 ticket to the Hollywood screening). 
 
Having listened to the soundtrack through once uninterrupted, of course I would like more. I do miss the NY parade sequence because it is different and a nice counterpoint to the other uses of the score. I think that will be best experienced in a music track release on home video even more than a complete album will be able to handle it (due to the other music mixed in). In fact, I wonder if there is more to that cue than in the film and that is where a deluxe/complete score release will yield secrets.
 
Like @Jay, I find the Anne-Sophie Mutter version of Helena's Theme in the wrong place. While I have not tried this yet, I think my order will be something like this:
 
 
1. ASM version of Helena's theme
2. Tracks 3-17 of the OST (until we have more)
3. Prologue (since it is the end credits representation on the film) - but ultimately it will be easy to lift the end credits from the digital release.
4. Helena's theme (concert version)
5. Raiders March from Raiders of the Lost Ark (or maybe the version from the Berlin concert since Sarah Willis plays on that and on the OST)
 
Overall, very happy with the OST even knowing of the longer sequences we will want. I have come to appreciate the 60 mins that JW gives us. (We only got 45 for Star Wars originally and even less for Raiders and ToD!)
 
If this is the last movie JW does, I am very pleased. 

I definitely agree with this statement. I guess the PR folks that Cannes would produce advance buzz in a way that I think has largely disappeared for a movie. I queued for hours ahead of Temple of Doom and Last Crusade (and even a little bit for Raiders although I went to a 10 am showing). Now, we all generally have assigned seats and going to the movies (if we even go) becomes just part of our overly scheduled lives thanks to cell phones and voice assistants. And before anyone types that I sound like Old Indy from the original cuts of The Young Indiana Jones Chronicles, I assure you I am not cranky about the movie or soundtrack.
 
As I wrote on another thread after the Premiere, I very much liked the movie. I agree with @Archive Collection that the film fits very nicely within the 5 films and dozens of hours of TV stories. And for that I am grateful. I truly look forward to seeing it a second time Friday morning with my wife (who has not seen it yet as I was only offered 1 ticket to the Hollywood screening). 
 
Having listened to the soundtrack through once uninterrupted, of course I would like more. I do miss the NY parade sequence because it is different and a nice counterpoint to the other uses of the score. I think that will be best experienced in a music track release on home video even more than a complete album will be able to handle it (due to the other music mixed in). In fact, I wonder if there is more to that cue than in the film and that is where a deluxe/complete score release will yield secrets.
 
Like @Jay, I find the Anne-Sophie Mutter version of Helena's Theme in the wrong place. While I have not tried this yet, I think my order will be something like this:
 
 
1. ASM version of Helena's theme
2. Tracks 3-17 of the OST (until we have more)
3. Prologue (since it is the end credits representation on the film) - but ultimately it will be easy to lift the end credits from the digital release.
4. Helena's theme (concert version)
5. Raiders March from Raiders of the Lost Ark (or maybe the version from the Berlin concert since Sarah Willis plays on that and on the OST)
 
Overall, very happy with the OST even knowing of the longer sequences we will want. I have come to appreciate the 60 mins that JW gives us. (We only got 45 for Star Wars originally and even less for Raiders and ToD!)
 
If this is the last movie JW does, I am very pleased. 

I definitely agree with this statement. I guess the PR folks that Cannes would produce advance buzz in a way that I think has largely disappeared for a movie. I queued for hours ahead of Temple of Doom and Last Crusade (and even a little bit for Raiders although I went to a 10 am showing). Now, we all generally have assigned seats and going to the movies (if we even go) becomes just part of our overly scheduled lives thanks to cell phones and voice assistants. And before anyone types that I sound like Old Indy from the original cuts of The Young Indiana Jones Chronicles, I assure you I am not cranky about the movie or soundtrack.
 
As I wrote on another thread after the Premiere, I very much liked the movie. I agree with @Archive Collection that the film fits very nicely within the 5 films and dozens of hours of TV stories. And for that I am grateful. I truly look forward to seeing it a second time Friday morning with my wife (who has not seen it yet as I was only offered 1 ticket to the Hollywood screening). 
 
Having listened to the soundtrack through once uninterrupted, of course I would like more. I do miss the NY parade sequence because it is different and a nice counterpoint to the other uses of the score. I think that will be best experienced in a music track release on home video even more than a complete album will be able to handle it (due to the other music mixed in). In fact, I wonder if there is more to that cue than in the film and that is where a deluxe/complete score release will yield secrets.
 
Like @Jay, I find the Anne-Sophie Mutter version of Helena's Theme in the wrong place. While I have not tried this yet, I think my order will be something like this:
 
 
1. ASM version of Helena's theme
2. Tracks 3-17 of the OST (until we have more)
3. Prologue (since it is the end credits representation on the film) - but ultimately it will be easy to lift the end credits from the digital release.
4. Helena's theme (concert version)
5. Raiders March from Raiders of the Lost Ark (or maybe the version from the Berlin concert since Sarah Willis plays on that and on the OST)
 
Overall, very happy with the OST even knowing of the longer sequences we will want. I have come to appreciate the 60 mins that JW gives us. (We only got 45 for Star Wars originally and even less for Raiders and ToD!)
 
If this is the last movie JW does, I am very pleased. 

I definitely agree with this statement. I guess the PR folks that Cannes would produce advance buzz in a way that I think has largely disappeared for a movie. I queued for hours ahead of Temple of Doom and Last Crusade (and even a little bit for Raiders although I went to a 10 am showing). Now, we all generally have assigned seats and going to the movies (if we even go) becomes just part of our overly scheduled lives thanks to cell phones and voice assistants. And before anyone types that I sound like Old Indy from the original cuts of The Young Indiana Jones Chronicles, I assure you I am not cranky about the movie or soundtrack.
 
As I wrote on another thread after the Premiere, I very much liked the movie. I agree with @Archive Collection that the film fits very nicely within the 5 films and dozens of hours of TV stories. And for that I am grateful. I truly look forward to seeing it a second time Friday morning with my wife (who has not seen it yet as I was only offered 1 ticket to the Hollywood screening). 
 
Having listened to the soundtrack through once uninterrupted, of course I would like more. I do miss the NY parade sequence because it is different and a nice counterpoint to the other uses of the score. I think that will be best experienced in a music track release on home video even more than a complete album will be able to handle it (due to the other music mixed in). In fact, I wonder if there is more to that cue than in the film and that is where a deluxe/complete score release will yield secrets.
 
Like @Jay, I find the Anne-Sophie Mutter version of Helena's Theme in the wrong place. While I have not tried this yet, I think my order will be something like this:
 
 
1. ASM version of Helena's theme
2. Tracks 3-17 of the OST (until we have more)
3. Prologue (since it is the end credits representation on the film) - but ultimately it will be easy to lift the end credits from the digital release.
4. Helena's theme (concert version)
5. Raiders March from Raiders of the Lost Ark (or maybe the version from the Berlin concert since Sarah Willis plays on that and on the OST)
 
Overall, very happy with the OST even knowing of the longer sequences we will want. I have come to appreciate the 60 mins that JW gives us. (We only got 45 for Star Wars originally and even less for Raiders and ToD!)
 
If this is the last movie JW does, I am very pleased. 

Adjusted. Thanks. I'm making all sorts of errors on my posts today. Still tired from last night.
 
Here's a photo of me with the IndyCasters and Ke Huy Quan who Mitch (far right) knows. That was a treat getting to speak to him.
 
 

I have a slightly different/longer answer than @TheUlyssesian. Providing it for people who wish to know. This version is even more of a spoiler, so you have been warned. I also address the question of music themes related to these characters.
 
 

Again, putting this in spoilers.
 
 

Yes, I thought was interesting too! Glad he had the cataracts removed. I hear from others who have had that it is truly altering to see more colors. I hope JW is getting the joy of that experience.
 
 
Thanks.
 
Really, there was way too much going on to even process everything. With my fellow IndyCasters who I have not seen since 2020 (or even longer ago), being out on the red carpet. Getting to meet Ke Huy Quan (Short Round) after the movie. The person who organizes these events for Disney is married to one of my former students, and that person spotted me in photos from the organizer and then told him to go meet me, to being steps from one of the actresses in the film. 
 
Still, while I had predicted the appearance of the Maestro to play music, by the time the event started, I had forgotten about that and then the curtain rose to reveal him and 80+ musicians. 
 
In terms of the music in the film and without giving spoilers (other than locations but all of which are in the trailer): First off, it's generally audible most of the time it plays. There is a lot of it as Mangold has told us, and still there are some action sequences where no music was used (not dissimilar to Star Wars when the music drops out). I do suspect those moments had music scored for them and the absence now was editorial. (I'm already pining for unreleased music!) The first 20% of the which takes place in the 40s is pretty much all scored and many old themes and motifs from the franchise can be heard winding their way through the action. I'm not entirely sure when we get to hear this separately (if we do) that it will feel very coherent though as I got a sense of jumping around a bit. It works in the movie though, and I wonder about it as a listening experience without the film.
 
As I hoped and guessed on our recent podcast, the sound and music of the era made appearances at times including one key early moment as the movie transitioned to 1969. That is not at all a decision by JW - it was clearly in the script as the music diegetic - but in terms of the overall score of the picture it worked. Generally after that the score charted to some new areas and themes. Helena's music is very differently used than say Marion's theme and different pieces of it the suite we have heard since last summer show up in the right spots with varying orchestrations, tempos and blends with other themes. I liked that. This felt similar to how the Solo suite was used as a basis for numerous moments in that film. Of course the difference being JW's own use of his themes vs. Powell's (which was still quite good).
 
There are plenty of action sequences and one in particular was scored in a manner that JW would have done in the late 60's or early 70's. I felt vibes of Lalo Schifrin and some amount of homage to The French Connection and similar films set in NY in that era. I found that refreshing although perhaps a bit of an oddity compared to to the rest of the score.
 
Definitely heard shades of Tintin when the film was in North Africa which was either how JW scores all those locales or was his own homage to his past work. I suspect the former. It was not a straight lift or anything blatant and worked with the action.
 
Probably missing for me was a clear statement of themes for the Dial itself (although I think it is there) or Voller, the main bad guy. 
 
A few times, clearly Mangold just let the music dominate as much as the visuals would allow. Not to the level of Spielberg (e.g. the Truck Chase, Scherzo for Motorcycle and Orchestra, the jungle chase stuff in Skull), but not as infrequent as in the recent Star Wars films.
 
Overall, highly satisfied and looking forward to whatever we get on the soundtrack (which is going to woefully inadequate unless there is a surprised deluxe digital version) and looking forward to deciding where this sits amongst the other 4 films. 
 
 

Yes, I thought was interesting too! Glad he had the cataracts removed. I hear from others who have had that it is truly altering to see more colors. I hope JW is getting the joy of that experience.
 
 
Thanks.
 
Really, there was way too much going on to even process everything. With my fellow IndyCasters who I have not seen since 2020 (or even longer ago), being out on the red carpet. Getting to meet Ke Huy Quan (Short Round) after the movie. The person who organizes these events for Disney is married to one of my former students, and that person spotted me in photos from the organizer and then told him to go meet me, to being steps from one of the actresses in the film. 
 
Still, while I had predicted the appearance of the Maestro to play music, by the time the event started, I had forgotten about that and then the curtain rose to reveal him and 80+ musicians. 
 
In terms of the music in the film and without giving spoilers (other than locations but all of which are in the trailer): First off, it's generally audible most of the time it plays. There is a lot of it as Mangold has told us, and still there are some action sequences where no music was used (not dissimilar to Star Wars when the music drops out). I do suspect those moments had music scored for them and the absence now was editorial. (I'm already pining for unreleased music!) The first 20% of the which takes place in the 40s is pretty much all scored and many old themes and motifs from the franchise can be heard winding their way through the action. I'm not entirely sure when we get to hear this separately (if we do) that it will feel very coherent though as I got a sense of jumping around a bit. It works in the movie though, and I wonder about it as a listening experience without the film.
 
As I hoped and guessed on our recent podcast, the sound and music of the era made appearances at times including one key early moment as the movie transitioned to 1969. That is not at all a decision by JW - it was clearly in the script as the music diegetic - but in terms of the overall score of the picture it worked. Generally after that the score charted to some new areas and themes. Helena's music is very differently used than say Marion's theme and different pieces of it the suite we have heard since last summer show up in the right spots with varying orchestrations, tempos and blends with other themes. I liked that. This felt similar to how the Solo suite was used as a basis for numerous moments in that film. Of course the difference being JW's own use of his themes vs. Powell's (which was still quite good).
 
There are plenty of action sequences and one in particular was scored in a manner that JW would have done in the late 60's or early 70's. I felt vibes of Lalo Schifrin and some amount of homage to The French Connection and similar films set in NY in that era. I found that refreshing although perhaps a bit of an oddity compared to to the rest of the score.
 
Definitely heard shades of Tintin when the film was in North Africa which was either how JW scores all those locales or was his own homage to his past work. I suspect the former. It was not a straight lift or anything blatant and worked with the action.
 
Probably missing for me was a clear statement of themes for the Dial itself (although I think it is there) or Voller, the main bad guy. 
 
A few times, clearly Mangold just let the music dominate as much as the visuals would allow. Not to the level of Spielberg (e.g. the Truck Chase, Scherzo for Motorcycle and Orchestra, the jungle chase stuff in Skull), but not as infrequent as in the recent Star Wars films.
 
Overall, highly satisfied and looking forward to whatever we get on the soundtrack (which is going to woefully inadequate unless there is a surprised deluxe digital version) and looking forward to deciding where this sits amongst the other 4 films. 
 
 

Again, putting this in spoilers.
 
 

Again, putting this in spoilers.
 
 

Again, putting this in spoilers.