nightscape94

I just wish he had done a proper version of the "Reprise" from Spirited Away.

Laurie Strode should be No.1, and Ripley shouldn't be on this list. Referring to her as "final girl", when compared to others on the list, seems insulting for her character. That term fits more in-line with the slasher genre.

Star Wars - John Williams It's that time again. With The Last Jedi on the proverbial horizon, I have begun my Stars Wars listening experience, where I will be listening to Star Wars through The Force Awakens, ramping up to watching the new film, first showing, in the theater on December 14th. I will listen to the scores to and from work, repeatedly, for about two weeks each.

I saw it last night too, the subtitled version. Beautiful. Every moment.

He's the only one acting with any real passion. Everyone else doesn't seem like they want to be there. Luna's character comes closest out of the good guys, but it's not enough to invest in their little band of rebels emotionally. It is a watchable movie with well constructed action in the last act, but nowhere near TFA in terms of character interest and engagement.

The coolest part of getting these two scores back to back in quick succession is that they're polar opposites. It'll be quite nice to have these two listening experiences from the same composer.

Phantom Menace for both, but it's a close call. It's the only one of the three that sorta resembles a movie.

A.I. It's one of my favorite William scores, and it provided a lot of extras. I know that Jurassic Park, from the sheer weight of TLW alone, will no doubt win this, but my heart tells me A.I. is my runaway favorite of the ones listed, in terms of expansions.

I'm pretty sure I haven't heard any Weezer since the Red Album (a friend was still a fan during that time and I only heard it through him), and haven't bought one since the Green Album, and haven't legitimately loved a song since "Death and Destruction". They've completely fallen off my radar. Since my curiosity was inflated, I looked up "Weekend Woman" and thought it was actually pretty decent.

Well, DC's given him a slightly more substantial role. Willem and JK haven't been involved in Marvel in a decade, and not in their existing larger cinematic universe.

The whole DC universe has been greatly mishandled to this point.

And this is the perfect time of the year to listen to the score. I plan on spinning it again soon on one of these crisp autumn days.

It was just a matter of time for this one. Still anxiously awaiting Superman to be announced. Would love seeing that one performed live!

Listened to both tracks. The Friends and Foes track fares better, and is somewhat interesting. Makes me want to at least year the rest of it. I haven't been largely impressed with an Elfman film score in like 15 years, but what I've heard is still quite listenable, music I could just have on in the background while I'm sitting at the computer doing other things. It's more interesting sonically than anything I've heard in the other two movies I've seen in the DC universe. I did get a kick out of the comments section of the YouTube video, which was filled with rather crotchety and cantankerous individuals.

Shhhhhhh, we don't know if Superman is in the movie. No one knows. It's a secret.

I would say that probably zero of his movies are known for the expert poetic dialogue

I listen to scores in the car all the time, E.T. included. I leave for work about 6:30am too, and I beat much of the crazy rush hour traffic. Never had serious problems with hearing the score.

I honestly cannot recall a single thing from Twelve other than they were trying to steal an egg. Thirteen was more of a return to Eleven's formula.

I can't speak for "Classic Who", but I don't recall any attention-seeking moments of politically correct favor for minorities in the current incarnation of the show. It never struck me as going out of its way to represent them any differently than any other character on the show.

There is no need for all of this Superman revamping, director's original cut this, extended cut that, etc. The original theatrical cut is fine, there was never any need to delve back into it.

I cannot whittle this down to 5. Sorry. Here are some scattered comedies that I love. The Naked Gun The Big Lebowski Wayne's World Weekend at Bernie's Airplane! Trading Places Plains, Trains and Automobiles Mallrats Spaceballs Annie Hall Groundhog Day Office Space

The whole last stretch to the Tennant era is on another level emotionally. "We will sing to you, Doctor. The universe will sing you to your sleep..." COME ON.

Quint from Jaws.

In no particular order. Please keep in mind that these are not necessarily my favorites, just what I may consider intricate or nicely written themes. Force Theme - Perfection Han Solo and the Princess - Great take on a love theme and interesting intervallic relationships Island Theme from Jurassic Park - Probably the best fanfare he ever wrote Seven Years in Tibet main theme - Moody, dark and exotic Omaha Beach/primary theme from Saving Private Ryan - Aching, and I love how it unfolds slowly and inexorably through its line. It achieves so much with so little.