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http://store.intrada.com/s.nl/it.A/id.9616/.f?sc=13&category=22848 http://www1.screenarchives.com/title_detail.cfm/ID/29009 http://www.moviemusic.com/soundtrack/M09905/judge-dredd/

The rancor absolutely elicits some sympathy.

Samples & Order: http://store.intrada.com/s.nl/it.A/id.9617/.f?sc=13&category=-113 Additional Order sites: http://www1.screenarchives.com/title_detail.cfm/ID/29008/ http://www.moviemusic.com/soundtrack/M09904/return-to-oz/ http://www.musicbox-records.com/en/cd-soundtracks/1776-return-to-oz.html Signed copies: http://creaturefeatures.com/shop/cds/return-to-oz/

Great point! But brings to mind another subject: the mayor's suit. And a lot of the other outfits in the movie. And the hairstyles. Let's face it: Jaws has a dated look to it, too. So does The French Connection. And Superman. And Gone With the Wind. And a lot of other movies that were made a long time ago. How does that make them less impressive as cinematic works of art? If it's a great movie, the fashions and music and cinematic styles of the day shouldn't detract from that. At least they don't for me. I guess I just don't quite get the whole "dated" bit. That sort of thing can make a bad movie look worse, but it doesn't harm a really good movie for me. There's an unspoken understanding that the film isn't going to update its own look as the years go by. It even adds a certain charm in most cases. There's no mistake about it. Jaws looks seventies but that's a compliment. What a stunning shot, from Bill Butler, and not a single CG, or grading device in sight, just a brilliant cameraman, and a great location, and a great sunset. Pure brilliance. Now that's how to light a movie!!!!!!!!!!

Badass western tunes, here i come... https://www.youtube.com/watch?v=0KEI5JZjwSs

The US Coast Guard Band have just released a new John Williams 2CD set featuring a selection of John Williams suites and themes which includes the first official release of the 15-minute concert piece A Nostalgic Jazz Odyssey (1971), never before available on album or CD, as well as a the world premiere release of a studio recording of Fanfare for Fenway (2012), previously released by the US Air Force Band as a live recording. The compilation, entitled ‘John Williams for Winds – Music for Cinema and Beyond’ is now available for free streaming at the US Coast Guard Band website (download link coming soon). TRACK LISTING The United States Coast Guard Band JOHN WILLIAMS FOR WINDS – Music for Cinema and Beyond Captain Kenneth W. Megan, Director DISC 1 01 – A Hymn to New England (3:26) 02 – Adventures on Earth (from E.T. The Extra-Terrestrial) (10:38) 03 – Sugarland Express (5:20) 04 – Out to Sea and The Shark Cage Fuge (from Jaws) (4:46) 05 – The Cowboys Overture (9:53) 06 – Adventures of Mutt (from Indiana Jones and the Kingdom of the Crystal Skull) (3:26) 07 – Midway March (4:13) 08 – Viktor’s Tale (from The Terminal) (4:27) 09 – Raiders March (from Raiders of the Lost Ark) (5:28) 10 – Star Wars: Main Title (5:40) 11 – The Patriot (7:49) DISC 2 01 – Summon the Heroes (6:40) 02 – The Reivers (18:22) 03 – Fanfare for Fenway (3:17) 04-06 – Escapades (from Catch Me If You Can) 4 Closing In (2:53) 5 Reflections (5:26) 6 Joy Ride (5:18) 07 – A Nostalgic Jazz Odyssey (15:46) Additional details at the US Coast Guard Band website: http://www.uscg.mil/band/recordings.asp

I'd suspected this for a while. I like PERFUME: THE STORY OF A MURDERER, probably a good deal more than Pubs and Croc. I wasn't as won over by CLOUD ATLAS as you were so it took more convincing. What I hear and read (going by the leaked score) is a surprising level of craft and wit that I wouldn't normally expect for a film from this period--I'm reminded of David Warbeck's SHAKESPEARE IN LOVE and QUILLS. It's certainly more interesting than what a David Arnold, Harald Kloser or Craig Armstrong would have done, but to pit it against Benny or Barry is frankly absurd. PERFURME for all its strengths is too scatterbrained, too full of lazy, aimless passages consisting of sustained string harmonics and bowed tam tams, to be considered a great work.

Whatever the case may be, even for someone with a lot of goodwill toward the symphonic amateurs behind PERFUME it seems preposterous to suggest that such an inconsequential work rivals Herrmann, his often monotonous approach (that works better for the movies than as complete scores) notwithstanding. I generally like Heil and Klimek but in this pseudo-classical idiom they sound like Kilar on a really bad day (sometimes like Danny Elfman humping Basil Poledouris). I'm sure it's meant well but they would have done better with a more modern electronic score or should have just left the chores to someone like Desplat who actually has the range of variation to see a longer symphonic work through.

Jay and I are at least as interested as you are in compiling all this stuff. The release of that live recording was overlooked because of its reportedly sub-par performance and the fact that no link was ever posted until today. It was certainly an exception. BTW it's not a CD but a digital download.

I would cry too if Stiff liked one of my posts, but probably not for the same reason as you.

I listened to the first "CD" this morning. Great versions. The arrangements and renditions of Sugarland Express and Star Wars may not be to my personal taste, but the rest is superb. I don't understand why they don't want to issue a CD! Thanks Miguel, I've updated the "Concert works" section of the Wiki disco! https://en.wikipedia.org/wiki/John_Williams_discography#Concert_works

"Fanfare for Fenway" does not have it's premiere recording here. It has been available since 2013: https://itunes.apple.com/us/album/2012-midwest-clinic-united/id665178814 Also, it's worth noting that the Sinfonietta was supposed to have been recorded, but there were some adversities that prevented it from happening.

And as "Bridge of Spies" came on the screen, I swear to God, if you listen carefully, it literally, the music speaks the word.....

As to "Anderton's Great Escape"... I think that entire action sequence might be slightly out of place. It's a bit too cartoonish and over-the-top compared with the rest of the film, if you know what I mean. The score fits the scene perfectly, though.

I always felt sorry for the shark once its exploded carcass floats down to the camera, almost teary-eyed. Remember feeling the same way about the Rancor in ROTJ.

This is kick-ass album! Just listen through the tracks of interest to me. The performances are top-notch, and very well recorded. I'm listening to "Cowboys" as I write. what a sprightly rendition! I'm glad to finally land on a good recording of "The Reivers" (concert version). "Fenway" is also a very welcome listen (perhaps the first proper recording?). "Escapades" is joyful as well. Thanks Coast Guard Band!!!!

Kathleen Kennedy. Pretty unreliable if you ask me...

Se7en is a poor man's Silence of the Lambs without the great acting, great editing, great directing, or great story telling. I don't find it disturbing. Jame Gumb I find disturbing but not the film. I find films genres disturbing. Torture horror disturbs me more than individual films. Night and Fog disturbs me. Documentaries of man's inhumanity to itself disturbs me. Most of all Team America World Police disturbs me. MATT DAAAAMON, and everybody's got aids, aids aids aids.

Just ordered the score for this. £6 on Amazon... Also enjoying these.

Listening to rare recording of The Patriot right now. Not bad! Fanfare for Fenway...nothing really to write home about. I prefer all other Williams fanfares.

Apollo 13 Great score, terrible album.

There's one more thing. I do realise that's not a terribly popular opinion... but I always felt that Goldsmith's wonder, suspense, drama, fantasy always eclipsed his action. It's my least favourite aspect of his writing (hey, another parallel with JNH!). Don't get me wrong, it's probably the most masculine and kinetic in this business (and pretty timeless sounding at that) but just not my thing. Hence, the quiet parts of Total Recall are really good but that's it for me. The thing with classic Williams, and that's another controversial thing, is that it featured more "lifting" and other people's voices. The modern one is more distilled. It's more "him", for better or worse. I know what TGP is getting at. Karol

I'll just do this to get to the front of the autograph hunters.

This does a good job of highlighting some of the same weaknesses you found in Interstellar

Interstellar: I found Interstellar to be even worse than Gravity. The way Nolan addresses the viewer (through the characters and their dialogue) was almost unbearable. The style was also quite ordinary and entirely devoid of irony and artistry. How strange that the director dares to compare the style with 2001: A Space Odyssey (Nolan said that Interstellar is like 2001 because the story is not told through the characters, which most movies do, even TDK). What?! Interstellar is a very conventional film told from the sentimental and emotional point of view of the characters, just like any other blockbuster. The characters tell the story here, not the director. Matthew McConaughey even whispers his way through the whole movie as if he is explanatory dictionary! And all the goddamn crying and weeping! I can't tell you how much my mouth fell open from bewilderment and disbelief. 'Love conquers time and space!' Man, Interstellar is even too sweet for Spielberg. I'm not a fan of Nolan's house composer Hans Zimmer but his contribution was actually the only positive point that I could find in this film. 2/10 Alex

Personally, I think "A.I." is one of Williams' very finest efforts, and it remains one of my favorite scores of all time, and contains passages that I find to be some of the most moving in Williams' entire ouvre. The film certainly has its problematic parts, and it isn't always a perfect drama, but it's still a phenomenal (and phenomenally well crafted) piece of cinema.