Thor

I've always found tracks 1-3 to be movement 1, 4-6 movement 2, 7-9 movement 3 and then the repeat of the theme is a fine epilogue. Beautiful presentation.

No, I think we interpret the word 'curate' differently. I've always taken it to mean both a selection of material, as well as manners in which said material is presented. Like curators at an art exhibition. So sequencing plays a role too.

How does that negate the fact that it's curated? As far as I know, a selection and order of music have been made? It's not the entire score in film order? Just because it plays the same theme twice, doesn't mean it's not curated. In fact, that's another part of a curated presentation. Personally, I like the two iterations of the theme -- makes for perfect album bookends.

Yeah, it could perhaps do with a little more Euro-centric sound, but it's fine as a musical album, and it does hit the right notes of the story throughout. I think Williams "missed the mark" more clearly, geographically, with THE BFG. LINCOLN-style Americana for such a quintessentially British story.

The film is most certainly a masterpiece, one of the best war movies ever. The score bored the hell out of me when it came out. That kind of slow, solemn Americana was not what I was looking for as a restless young man of barely 20. Of course, tastes change a bit, and now I'm far more receptive to that kind of music. I mean, not for an infinite amount of time - the OST is perfectly curated - but enough to get engrossed by. The film is also brilliantly spotted, allowing many scenes to play out more effectively without music.

Another interesting one comes to mind. THE TOWERING INFERNO was called INFERNO IN FLAMES over here. As in, are there any non-flame infernos out there?

Some of the main criticisms at the time related to the film's darker tone, its violence and its happy-go-lucky comic book pace and structure (Looney Tunes maestro Chuck Jones had been involved on storyboard level). However, over time these aspects have turned into strenghts. It's a great film; I still remember seeing it for the first time, on VHS, in the late 80s while visiting some friends of my parents in Denmark. Good times.

Gorfaine & Schwartz, his agents.

Not terribly unique anymore, but one can't complain, really.

Elfman fooled around with many NIGHTBREED elements in the 70s already, like the famous gamelan piece in the Mystic Knights days. It's a great score, but - as you would expect - the OST is more than enough for my use. The country version of "Skin" is delightful.

Not familiar with him, but I've heard the name. I think he's either Danish or of Danish origins (and I'm too lazy to google).

Not really film music, not really classical music, but event music. Didn't know where to put it. Glennie-Smith's approximations of classical tropes are perhaps a bit too on-the-nose and homophonic, but they're very entertaining.

Can't wait. There were some similar sequences in FURY ROAD, and they were awesome.

I remember sampling this score when it came out, and it didn't do much for me. It was Silvestri doing his best Herrmann schtick (which he's good at, I'll give him that). Still hoping for premiere releases of more pre-ROMANCING THE STONE scores. Or stuff like SHE'S OUT OF CONTROL. Or PAR OÙ T'ES RENTRÉ? ON T'A PAS VU SORTIR. Or OUTRAGEOUS FORTUNE. That kind of stuff.

I've seen the whole US version, but it never connected with me much. It's okay. Meanwhile, I've probably seen the original Gervais version 5 times all the way through. And thanks to this bump, I might give it another go!