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NOTHING taints the original! It's one of the greatest films ever made, full stop. Robert Shaw created one of the most memorable and iconic characters in cinema history. The first time I ever got drunk I recited Quint's speech from Jaws. My only regret is that Spielberg never made his "Indianapolis" sequel. That would have been something.

TPM ***** AOTC ***** ROTS ***** TLJ ************** R1 **!*!*!*!*!! TFA :--( ROTJ $$$$$$$$$$$ SW ???? ESB 💩

Goood, goood, Sev! Let it out, let it alllll out! Let all of that filthy, disgusting, vile, sacrilegious, shit-brained, hare-brained, idiotic, piss poor, insulting, putrid, vomit-inducing, bowel-emptying, reused colostomy bag that you DARE call an opinion OUUUTTTT!!!!!!!!!! What a lovely day for you to share with your family here, Sev. 🙃

No, while many would pin Giacchino's Rogue One to have been lackluster, we must admit that his cue titles are always amusing and punny. The other day I considered what a Giacchino track list for Solo might have looked like. Here's what I came up with. 1. Introductions and Han-dshakes (Meet Han) 2. How To Chase a Speeder (Corellia Chase) 3 which was Spaceport I couldn't think of one. 4. Not A Wookiee Mistake (Flying with Chewie) 5 (Train Heist) could easily be Heist to See You but he's used that for Incredibles 6. Not Nesting Around (Marauder Arrive) 7 Chicken in the Pot is already an oddball. 8 Is This Seat Taken? I couldn't come up with one. 9. Falcon at First Sight (L3 and Millenium Falcon) 10. The Lady, the Pilot, and the Wardrobe (Lando's Closet) 11. That's Mine! (Mine Mission) 12. If Ain't Break Out Don't Fix It (Break Out) 13. A Han-dsome Guy (The Good Guy) 14 Reminiscence Therapy is already pretty clever. 15. I Want My MawMaw (Into the Maw) 16. Leaving the Nest (Savareen Stand-Off) 17. The Vos Breaks (Testing Allegiance) 18. Kicked the Beckett (Good Thing You Were Listening) 19. Beating the Cheater (Dice and Roll)

The Amazing Spider-Man by James Horner: Heck this is actually a pretty great superhero score and easily among the strongest Spider-Man scores (I never warmed up to Elfman's Spidey scores). Familiar it might be in style and execution for anyone well enough versed in Horner but the guy had such good dramatic instincts and ability to write engaging lengthy sustained pieces of music for film that these little Hornerisms are easily forgiven.

I think it is curious that 2 minutes of Private Ryan gets people to take out their wallets, but 5+ min of Superman doesn’t? Yeah, it’s an odd inclusion - but so what? What is the world - and JWfan!!! - coming to?! Is it because it’s source? MM should’ve put “film version” in brackets at the end of each title, maybe that would’ve helped... ?

@TitanicFan2018, its now Tuesday. Have you finished BRAVEHEART, yet? I've heard of "director's cut", but this is ridiculous!

But we need stars to help us defeat Bowser and rescue the princess! I want that cake, damn it!

And then there are the Transformers movies! I don't think it's healthy to swing too far the other way of what you describe: I find the attitude of "This movie is supposed to be _fun_, turn your brain off!" to be potentially just as obnoxious and disheartening. Why the hell should I have shut off my brain to have a good time? There's been plenty of great, lighthearted, kooky, adventurous, goofy, whatever movies over the years that have a certain zest of intelligence or wit to them. There are directors who made their career off of these things! (Joe Dante, Blake Edwards, and to a lesser degree, Steven Spielberg come to mind.) Am I pretentious 'cause I don't like watching movies where Melissa McCarthy and co. act like grown-up dumbass Looney Tunes kids? I don't think the people who see those are necessarily dumb by any stretch, mind. I think some people when watching a movie really do just want to relax the critical part of their brain for a little while...just don't get pissy at a dude or dudette that asks for more.

Well, not necessarily a story arc in the Moffat sense. But even the Ecclestone series had Bad Wolf, and after Broadchurch, where every series was just one long story split into several episodes, I will probably be disappointed if the new series doesn't have *some* element to tie it together.

Exactly!

Jay, tell publicist to stop fake quoting my posts!

Not long after getting the LLL Braveheart album, I ended up watching the film twice in one week, and it wasn't even spaced out much it was like viewing one was on a Sunday while the second was a Tuesday. I was just so happy to revisit the film, which as I said before has such a stunning Blu-ray release, and getting an even better sense of the music through the LLL release really added to the enjoyment and appreciation of the film. Hard-hitting, tragic, but such a inspirational and hopeful story told by what was clearly a group of people who had a hell of a time. Horner once said Braveheart was the score he was most proud of. It's not hard to see why.

I liked it! Has some appropriate Englishness. Nice transitions and melodies.

I finished the movie already, but I'm probably going to watch it several times over and over. It was a really good film.

Wait 'til he tries the Kingdom of Heaven Director's Cut! Which is also fantastic, BTW. Probably the single film ever that has most benefitted from, and been transformed by, a DC.

Great introduction for Whittake's Doctor, although the monster and story in general were pretty standard. I'd love to see an opener with a truly groundbreaking story rather than just the doctor saving the day against a stock alien as a nice easy establishing win. I rather liked the music, which is definitely a departure. Thing with Gold's scoring is that sometimes it felt overscored, and the later CD releases dragged a bit. A more electronic-based scoring feels like it's addressing the tension more. It won't be to everyone's tastes but I liked it. And definitely a cinematic look - I'm sure they didn't film those scenes on a real crane, but at no point did 'green screen' even enter my mind.

Braveheart is fantastic, the score is fantastic, the battle scenes are fantastic (and some of the best ever put to film), and it all only gets better with age. What Mel Gibson did as a relatively inexperienced director was a marvel. IMO this is a movie that should be taught in film school. Gibson clearly had an incredible commitment and passion for the project, which shows to anyone whose watched some of the behind the scenes docs. Gladiator is excellent as well, but much more polished. And perhaps closer to the spirit of the old style Hollywood epics than Braveheart. I love them both, and I wish Hollywood made more historical epics like these.

.........

Its actualy not at all like the old epics. Some have criticised Braveheart for the simplicity of its script (as far as characterization goes) but I think major kudos are in order for Randall Wallace for the way in which he kind of tempered with the tropes of the 60s epics: again, with the very contemporary dialogue (juxtaposed with the awful faux-biblical stuff that passed for dialogue in the old epics), including injections of irreverent comedy, as well as crudity and profanity. I think its the best film in the genre.

It was all the rage at the time. Even The Rock had a Gaelic sounding theme. Cameron was probably going for that Irish sound.

Bryce Dallas Howard (giving Severin a smooch): Come on, everyone. Let's bake a delicious cake...for Severin.

Who cares about stupid stars and pointy arrows!?

The only thing Titanic and Braveheart have in common are the use of uilleann bagpipes; Braveheart uses them extensively, while they're used sparingly in Titanic. Deeper than that, their musical styles, orchestrations, and how they're performed are vastly different. Braveheart's score is in the style of medieval Scottish music, has an immense orchestration (boys' choir, synths, orchestra, jungle drums, quena and Japanese flutes, bagpipes, etc.), performed exuberantly, and its battle cues are very heavy. The score doesn't contain any pop songs or cues in that style. On the other hand, Titanic's score is not only lesser-scaled than Braveheart's, it has a totally different musical style (more modern harmonies used). For example, cues that have the love theme (e.g. "Rose") have a pop-style sound (syncopated rhythms and chord progressions typically heard in pop music), and the song "My Heart Will Go On" is based on the love theme. Then you have lydian mode in "Take Her To Sea, Mr. Murdoch" and the film version of "Leaving Port". And parallel fifths and octaves are heard in most cues.

There is a plaintive cue with the theme on solo trumpet when Lindbergh first takes-off that is a blueprint for dozens of later film musical evocations of flight. Waxman often was a few years ahead of his peers, especially in the 50's.

There's world of a difference between something like Back to the Future and something like Suicide Squad

It's downright impossible. Probably the most difficult edit I've worked on. The best you can do is approximate JW's intentions and just include the parts you like best. Clearly there's a mix of alternates and inserts between the OST and final film, and we only have fragments of everything due to Williams' overzealous microediting of the OST and the film version being hacked to pieces.

"Pretty good" is my phrase?

Liked her referring to the Tardis as her 'ship' ... Thirteen, your First is showing. The new sonic's appearance made a lot more sense when we saw it was 'built' by the Doctor and not by the Tardis, and the anti-knife crime sentiment expressed by her when explaining it to the new companions was most welcome.

Whitaker does The Doctor with seeming effortless ease, and the new Companions looks promising. This looks shot in anamorphic.

Titus by Elliot Goldenthal: Gosh this Goldenthal fellow is pretty good isn't he. The Sphere by Elliot Goldenthal

Glad to hear it hasn't been forgotten about! I am still looking forward to another one very much. The first one was tremendous fun; most adventure I've ever seen fit into a single film! With some good effects, creative cinematography and John Williams doing his usual great job. What more could there be to wish for?

Can you change the title of this thread for "Life Disenchantment". Mercy.

I think the best listening experience of TLJ's score is the OST + about 25 minutes of highlights from the isolated score. Some of the lesser suspense cues (like Poe and Lady Officer Conspire, Codebreaker... Thief, Encounter Before The Dream, What Cha Got, Don't Join, etc.) are non-essential but unreleased or expanded cues like Escape (Complete), Lightsaber Training, Lesson Two, Rey's Journey, Holdo's Resolve and the complete version of The Last Jedi are invaluable to the overall experience of the score IMO.

Just listen to the OST. That’s still my main way to revisit this score.

I'll be disgusted and outraged if I see a single glowing lightsaber toy.

Pajamas for me!

Played Super Mario Party with my wife and eldest child last night. Two very enthusiastic thumbs up, fine holiday fun. Haven't played a Mario Party in 10 years and this seemed like the perfect game and time to jump back in. The mini games were great, my daughter loved it all.

That's cool. It'll be nice to have official slates and cue titles.

Here's to 47 more!

Best 47th post ever!

Had to be done:

I like Psycho II. It's a cool score. Psycho is one of the most brilliant, fascinating scores in film history.

I'm surprised so many have issues with his choral writing, which IMO is one of this utmost strenghts. I don't think there's ever been a choral piece by Williams that I've not liked. Perhaps only "America, the Dream Goes On". As for my own 'unpopular opinions' about JW, I don't have that many. I have some minority preferences, like being more interested in the obscure and older stuff (pre-70s) than the big classics these days, but that's hardly an unpopular opinion. Just unusual at JWFAN. I guess an unpopular opinion is one I've said before, and apparently got a lot of flack for (but which I still stand by), i.e. that Williams hasn't been that strong since 2005 as far as film scores are concerned. Most of the adventure/kiddie stuff has been too whimsical and all-over-the-place, while some of the serious dramas have been very run-of-the-mill Americana. There hasn't really been a single album or score I've liked all the way through. WAR HORSE comes closest.

All of the best Ewok Theme statements are in Return of the Jedi.