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Skyfall rollicking affair that betters the past two Craig affairs by far. Craig looks more comfortable in the role, there's a right amount of humour which though never bordering on Moore/Brosnan levels feels right all the same. Good additions in Mallory and Q and a send-off for M. The Tennyson moment is one of my favourites, the reveal of the DB5 still raises a smile (its destruction equally as good, Craig's face for one), the A-Team moment at Skyfall as they prepare and the beautiful Berniche Mahloe. Musically feels better than the past two scores. For one there's the Bond theme peppered here and there. And finally, it looks something else. If only Deakins were returning for Bond 24.

Come on BB, be serious. This is the first time that a piece of classical music has ever been quoted in a film score. It's the greatest thing since sliced bread! And I think it's appalling that Zimmeranelli or whoever, the HACK *spits* is trying to pull one over on audiences by passing off this hidden gem by this heretofore unknown Rossini character as their own. The public deserves to know the work of Rossini. For all we know he could have a whole ream of pieces that sound almost exactly the same and feature comically drawn out endings! What treasures are the RCP drones hiding from us this time?

No love for Kung Fu Panda 2?

Trippin'

Yeah, Mikko is the person to go to, when it comes to these things. What about Chairman's Waltz? Fantastic Voyage by Leonard Rosenman Karol

Lol

I thought you left that one off because of its soaringly original theme and orchestration.

That's very much accepted; it's more whether it's creatively healthy for one composer's work to merge with another. I happen to think a score comprising of material by 10 different composers loses something, and that an unusual time constraint is one of few excuses.

Didn't you read it on page 1? The topic has been discussed insufficiently.

Yeah. I remember reading somewhere that Rossini was not available to work on the film, so he did a quick mock-up of a theme for the final action sequence and Zanelli developed that idea. I think you can hear Rossini''s mock-up on some RCP compilation album. It was pretty basic really. Zanelli really gave life to the theme.

ZAT JOHN WILLIAMS IZ DA BOMB, DUDE!!!!LULZ!!! SHORE SUX!!!! LMFAO!!!

That's what I've been wondering myself.

What are you trying to prove with this pill Ricard?

The Last Samurai is excellent. Take a listen to "Red Warrior" and "The Final Charge."

Nah, it's both of them, but I can undersand where you're coming from. People around these parts have trouble accepting that more than one person can work on a single piece of music.

Good to see Powell being back in form. I think the last good I heard from him was Mars Needs Mom.

12 Years a Slave is such a dull, monotonous and awfully repetitive score though. Some of the less tonal stuff is kinda nice, but aside from that, the score is really just the Time/Journey to the Line idea (except even more dumbed down) repeated ad nauseum.

Top Howard score, that one.

One of the greatest score setpieces ever.

I really like JNH ambitious thematic orchestral efforts like Dinosaur, Waterworld or Atlantis. If Maleficent harkens back to those this score will be among my 2014 highlights.