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The famous: "No, I've never done that and how do you do it?"

A Hidden Life Malick is one of my favorite directors ever, and he doesn't disappoint here, with this beautiful, melancholic and spiritual study about faith, suffering and love (for another person and for/by God). Non-Malick fans can be turned off by the Christian themes and the way he frames his movies like they're meditations and a chain of thoughts instead of trying to reproduce the real life. Everyone speak in monologues, like they're just avatars for Malick to reproduce his own internal musings inside his mind. Cinematography is not exactly iconic like Lubezski's contributions for the director, but newcomer Joerg Wiedmann still makes the movie wonderful to watch. Every frame of it could be on the favorite shots thread. JNH score works great in the movie alongside the classical selections, and absolutely should've been nominated last year. In terms of impact on the movie, it's indeed his best work in years.

From The Lost World: 1. In the Trailer On the Glass Rescuing Sarah 2. Finding Camp Jurassic The Raptors Appear High Bar and Ceiling Tiles 3. Monster on the Loose Visitor in San Diego Ludlow's Demise

Oh my god

this is so unbelievably cool, it's like a glimpse into an alternate universe where John Williams scored the ST but it was the Thrawn Trilogy:

It would be the first love theme of the franchise!

Website and Wiki updated with the 'Far and Away' expansion!

What are you talking about? I have listened to the whole thing -- in the movie itself. Multiple times. I even sampled the expanded release, which wasn't really necessary, but just for curiousity's sake. As always, the evaluation is a combination of how the score works as a listening experience on album (the OST) and how it works in the film.

YouTube sucks nowadays, so authoritarian and pro-censorship.

No love for War Horse? * The Reunion * Remembering Emilie / Finale * The Homecoming Nevermind, someone already said that.

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This. And this. Amazing that two people already got my top 2 choices here, with only half a dozen replies.

The Lord of the Rings: The Return of the King (2003) I enjoyed the earlier two parts when they came out, but mostly as fantasy-action films. Fantasy films with pathos, to be sure, but the draw for my teenage mind was mostly for the florid, medieval fantasy-action setpieces. Only in The Return of the King did I truly understand the power of drama in film; the ability of the medium to, more than anything else and beyond any other medium, convey emotion, particularly poignancy. I could feel it at the very core of my being, which was immensly confusing to my barely-adult mind at the time! This was obviously done through visuals (the cut to a wide when Sam is holding Frodo on the slopes of Mount Doom is still the best wideshot ever in a film) but also through theme: the film is above anything an exploration of the theme of friendship. It juxtaposes the calamitous, tragic friendship of Smeagol and Deagol with that of Frodo and Sam. Its no accident we cut from the renunion of Merry and Pippin on the battlefield to the reunion of Frodo and Sam in Cirith Ungol, or from the culmination of Legolas and Gimli's friendship to the climax of Frodo and Sam's. Its beautiful.

This makes the first time I wish I had a Blu-ray player! I never knew there was an extended cut, but man how I would love to watch that right now. I love that movie.

What, you said you want more?

I sold my copy of the OST and the Japanese OST, because I don't want them anymore, and I'm waiting for a sale to buy the new, ultimate release.

I haven't, no! But I aim to.

Definitely the better sequence to get 'Plowing' in there.

Malick is one of my favourite directors too. Haven't seen this yet, but I'm planning to. But most of all I'm so looking forward to his next movie about the life or something of Christ. Imagine that Malick movie with a John Williams score! I think it would be something sublime!

The River just announced by Kino for USA.

Your husbands alright Mrs Body he's just gone fishing and picked up a couple of stripers, we'll bring them home for dinner, we won't be long we haven't seen anything yet over and out.

You eat when we say you eat. You shit when we say you shit. You piss when we say you piss. You got that, you maggot dick motherfucker?

The only release I did not expect at all and was utterly surprised about.

The overture is among the great works of film music!

Little piano scherzo

Not sure if this is really my #1 favorite, but it's pretty great and hasn't been mentioned yet: War Horse Learning the Call Seeding, and Horse vs. Car Plowing

It's been subpar ever since Google took over.

I'm looking for more of a YouTube-like platform for people to view (not download) the videos. Once I finish the edits in the future I might just put them up on Squidboard or something.

Agreed. I was baffled with how well received it was

No. I hate it.

Yes, it's on my 10th place of best soundtracks of all time. I could speak for hours on why, but let's not! I'm just thrilled to know that this new film was temped with it. Brings hope!

If anybody says it, you'll shoot me? That's not fair!

Moore wouldn't have been upset, but Leiter getting hurt would have been scored with a slide whistle.

No, I just like it. Some scores, such as this one, I discover through the expansion without being very familiar with the OST already.

Cry.

Yeah, what he criminally cut out of the concert suite

The correct answer, although I officially start with "ET Is Alive" for the amazing final 22 minutes of music.

Complete no-brainer for me: Star Wars V special edition soundtrack Carbon Freeze/Darth Vader's Trap/Departure of Boba Fett The Clash of Lightsabers Rescue from Cloud City/Hyperspace 25 minutes of greatness. You can even add The Rebel Fleet/End Title and you'll have a contender for best 4 tracks in a row. Great choice! And generally speaking, any 3 tracks from Schindler's List can't but be very special, IMHO.

I'm approving this.

Buckbeak’s Flight/A Window to the Past/The Whomping Willow & The Snowball Fight is probably my favorite three track run there. Reunion/Remembering Emilie & Finale/The Homecoming is definitely another one of his memorable soundtrack endings.

Hard to beat the endings of E.T. or CE3K! Here are some personal favorites of mine: Superman: Jonathan's Death - Leaving Home - The Fortress of Solitude Far and Away: The Land Race - Settling With Steven/The Race to the River - Joseph and Shannon AOTC: The Tusken Camp & Homestead - Love Pledge & Arena - Confrontation w/ Count Dooku & Finale Pretty much any randomly selected 3-track span of ESB: SE album, JP: TLW (Expanded Release), Warhorse

That!

Empire of the Sun Cadillac of the Skies Mrs. Victor and James The Return to the City Schindler's List Making The List Give Me Your Names Yeroushalaim Chel Zahav (Jerusalem Of Gold) A.I. The Specialist Visits The Reunion Where Dreams Are Born

Great idea for a thread! It's hard to beat: The Rescue and The Bike Chase / Departure / End Credits from ET and The Appearance Of The Visitors / Contact / End Titles from Close Encounters Two of the best finales in the history of film music Actually, Jurassic Park's is great too: The Raptor Attack / T-Rex Rescue and Finale / Welcome to Jurassic Park Damn, JW and Spielberg know how to end a movie sometimes...

I'd been wanting to see for a while now how well the "taking off" section of We Go Together would work with the similar sequence from ROTJ. Even with some editing, it's still clunky, but it might still be fun to see.

Williams putting together the OST for The Rise of Skywalker after all the edits to the score by JJ and co.

OK. I saw the film in the theater last night. And holy motherforking shirtballs, THIS SCORE IS INCREDIBLE. I cannot recall another experience quite like this one, where I went to the theater and saw a movie, and was just in awe of how good the score was the whole way through like this. What was most amazing was that even after listening to the 95 or so minutes of score we have between the FYC and OST a lot before seeing the film and becoming very familiar with it, EVERY SINGLE ADDITIONAL, UNRELEASED CUE I HEARD IN THE FILM WAS SOMETHING I WANTED TO HEAR AGAIN OUTSIDE THE FILM! Every cue he chose not to put on the FYC or OST had SOMETHING special in it that made it worth having. I just sat there being blown away as cue after cue was a great unreleased highlight. I don't understand the reports from people saying eh, most of the highlights were on the FYC or OST, or eh, there's only 30 minutes of more music and most of it was older themes anyway, or whatever. No way! I mean, of course a lot of the cues do feature old themes, but many of those old themes are completely new variations of them! I heard an ABSOLUTELY FANTASTIC rendition of The Emperor's Theme unlike any I had heard before (it was a quiet rendition, on woodwinds IIRC), a great new version of Luke's theme, some great new Force Theme variations, and TONS, I mean just TONS of great new Rey's Theme variations. JW clearly is in love with Rey, and she is basically the main character of this film, and JW pretty much scores all her scenes with some new version of her theme, and I feel like we only got maybe half of these renditions between the FYC and OST. He does so much more with that theme in the full score. The other thing apparent from watching the film, is that it is very clear from watching that the film was scripted and shot as a longer experience, and then edited down within an inch of its life for the final cut. It's quite clear sometimes when entire scenes are missing (some of which we have the cues for on the OST album), and it's also clear in other times that the scenes he kept in where whittled down and down and down after the original cue for them had been recorded. This score is instantly my #1 most requested session leak / complete score release from all the John Williams scores that haven't been expanded yet. Not only is there just a bunch of great music you can hear in the final film that hasn't been released yet, based on everything we can hear right now it seems clear to me that the full sessions for this score would have the most amount of interesting music we've never heard. I can't remember the last time I was THIS into a new John Williams score this much, nor the last time I got 95 minutes of a score and still wanted more very very much. It's clear that JW was very inspired while writing this score, either by an earlier longer cut that made a lot more sense, or just something inside him that wanted to make this score really special. It's amazing to think that an 87 year old man who could have retired 25 years ago with a career more noteworthy than most composers can dream of achieving is still crafting masterpieces like this. Bravo, maestro!

Heard this rather engaging piece for the first time today: