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Just so you guys know, the UK version DOES feature isolated score on 4K disc, even though it is not advertised on the back cover. Karol

Arrived on Tuesday:

Lol, people are so desperate after 32 years waiting to hear everything, 11 of which were spent with a faulty deluxe edition, that even the smallest possibility of a single second of imperfection is enough to cause anxiety, angst and despair

The part after the Coruscant-like percussion stuff in Tuk Tuk Chase 2 is deliciously chaotic. There´s so much going on, I am picking up something new each time I listen. Voller and Helena's themes integrated into the On the Conveyer Belt stuff (I think they almost play off each other). Some absolutely mental harp playing going on before Indy's B theme plays as well.

Super happy with this release! Mine came in yesterday! New baby is taking up my time but I’m hoping to listen to this in its entirety soon!

Not goofy at all. It's more that Raiders was recorded in London that's the oddity. Pretty much every Williams/Spielberg score is recorded in LA as the norm.

I'm undecided. That would be highly tempting, but my current leaning is to listen to all 3 discs in order.

I'm not disappointed JW scored the film. I'm disappointed that the film he scored wasn't better. But such is the life of film score aficionados.

Not only Helena's Theme but also some great new themes for the Indy pantheon. I also like the new Nazi material and love the Archimedes' theme and the Ancient Theme.

Will do my best to convince with the Spotlight. I too am not really into military marches, but (as with Patton in some ways) I would argue the “meat” of this score is internal. Yes there are some bursts of action but overall it feels very much like a thoughtful character based score. I will also say I was rather taken aback by just how good the film recording sounds on this. It sounds like a much more modern recording than say Damnation Alley from the same year. I guess that speaks somewhat to Universal’s tape preservation practices? Yavar

It helps that its "The greatest achievement of any artist in any form of human endeavour whatsoever." Yes, its slow. But its deliberate. It is assured. And, for a film so unrelentingly grim and intense, there's no other film in the whole world that leave me feeling uplifted in quite the same way.

It seems like a post that was made with two hands, but only one brains!!!

And Nine. Nine rings were gifted to the race of Men

It's a spoiler-free thread, so let's keep it vague. I didn't like the opening scene, too much CGI. How can you feel the danger when everything around the human characters feels fake? The deaging gimmick? Not convincing and uneven. I didn't like the 'vignette' effect in some shots (where the four corners of the image are darkened). I didn't like the mid-movie flashback (was it really necessary to use the deaging gadget AGAIN?). I didn't like the excessive number of gun-related deaths (some of which seemed gratuitous). Are we still in an Indiana Jones movie? I didn't like the introduction of the character played by Antonio Banderas (is this character going to speak or what?). I didn't like how multiple times the characters consciously refer to what they've said or experienced in the previous films (when a movie is too conscious of itself, that's not right). I didn't like the punch in the face scene at the end of the film (so you really didn't know how to end that scene don't you?). I didn't like the very last shot of the film. This movie, for me, fails on a technical level and in terms of the story; it feels like a film made by eight hands, but with only a quarter of a human brain. Moreover, the film isn't even visually appealing (it's not Spielberg level). I think everyone wanted to make this film to ensure it would be the last. Mission accomplished, that's the only part of the movie that is successfull!

Not at all. It's a very good movie. What's so bad about it? I found it thoroughly enjoyable.

Paging @Chen G..

I think I am going to listen to the whole set from start to finish. Hearing the complete score in full for the first time will be glorious! I am certain disc 3 will be a fascinating collection of materials, songs, alternates and source music, but the actual film score in chronological order is certainly a priority for me.

Fulfilled!

Are you joking, or is there actually a glitch?

I'm pretty sure JW scored far worse movies than Dial of Destiny.

This is very hard to find for a decent price now. Unfortunately I wasn’t able to grab it when it was. Hopefully it will get a reprint one of these days. It should always be available to score fans. Some scores are just like that. I guess I’ll add Cutthroat to my list of most wanted re-issues, right next to 1941 and The Shadow.

The fall in the raft never bothered me as much as the shot they ran in reverse showing the dancing girls getting back up from the splits and doing a high kick! That opening, with Williams' glorious arrangement of "Anything Goes", is just so gonzo—and it's just the beginning! I'll second what @Andy said about the possibility of them being high on something while making this movie, and the fact that it would never be made like that today. Amrish Puri as Mola Ram is as much a scene-stealer as Ian McDiarmid was as the Emperor in Star Wars, delivering his lines with such gleeful menace. I loved imitating him as a kid (Full disclosure: I still do), and could (can) do a mean "They will be found! You won't!!" (evil laughter)

If that's the case, they fell for 'Western gloomification disease' in 1954, when they did the first film. Godzilla wasn't originally 'campy kaiju fun' - it was originally dark and gloomy. People died of radiation sickness. One of the characters literally melted himself when he killed Godzilla. I was never a big fan of the Showa films, so this doesn't appeal to me at all. I'm glad it does to some.

I swear, they make Godzilla move faster with each film. Also, as I have an affinity with the KOTM design, I do not like what they've done to Godzilla. EDIT: I'm seeing people saying 'this is Showa as hell'. So... was the Monsterverse supposed to be grounded in realism, or not? I feel like the whole thing has become tonally confused.

Last night in Leipzig, ASM with Gewandhaus & Nelsons gave excellent readings of Helena, Cinderella and Long G., all in one program! Helena's Theme followed VC2 as an encore.

For Disney this seems to happen every 10 years or so since Walts death, with the drawn out production of films that failed at the box office through the late 70s and 80s bringing in Michael Eisner and Jeffrey Katzenburg which leads to the Renaissance of the 90's, then the middling releases of the 00s sees Eisner ousted with Iger taking his place and the films rising again at the box office in the 10s with the films of the 20s leading back in to a slump. It's just a cycle the studio goes through. Marvel is a bit different though, it's still a relatively young studio, there are just so many reasons why most of the post Endgame films failed to connect with audiences, that inserting any kind of message (while maybe a priority for some writers) wasn't the biggest. Word of mouth can still make or break a film and things like social media and YouTube have made plenty of voices louder. Personally I think (especially in Marvels case) writing isn't a priority with these films anymore, coupled with ever growing budgets extending production and a mentality of "we'll fix it in post" the end product can be a cobbled mess of ideas and quality. Of course streaming is also a factor, it's something that the studios will have to figure out how to compete with, just like the early days of television where it lead to the rise of the Epic films and Musicals of the late 40s and 50s before seeing the same slump at the box office like today, but then saw the rise of New Hollywood through the 60s and 70s. I think Lucas said it best "it's like poetry, it rhymes", with the Epics, Westerns and Musicals that dominated and then fell out of fashion we'll see something new rise (probably video game adaptations) superhero films will still be around, just not at the same heights as the last 15 years.

"Generic for John Williams" and "generic for Lorne Balfe" are two entirely separate planes of existence

Probably more to do with recording techniques (maybe even different recording engineers, I don't know) that tape storage practices, I would think

In numerous scenes, Harrison Ford appears on the screen, but it's not Indiana Jones. From the classroom scene at the start of the movie, it's evident that it's not really Indy. I noticed that the expressions Ford portrays in this scene are out of character. When we say the 'magic doesn't work,' it indeed doesn't work.

Yeah, it was in bad taste. It's like they tried to bring Indiana Jones into a grittier, 1969-style of film, like Crystal Skull tried to be a product of the 1950s with its outlandishness. I actually liked this character, he was sympathetic...for the amount of time that we had him. How utterly embarrassing that was, and for poor, broken-down, "just-let-me-die" Indy... Ugh. It's all fresh in my mind now. I'm going to take a bath...

Employee 3 is on the ball. Got my shipping notice.

I'd say so ... broadly, I'd say her modelling and presenting has gone down better than the acting.

Apparently Godzilla and Kong now will destroy Rio. Can't wait to see the two of them dancing funk and pagode and watching a Flamengo match on Maracanã!

Superman's first act is on the level of JW's best scores.

In the first one he was actually human, someone whom we could cared for.

It’s always dangerous when I have to wait a while for something to arrive in the mail, for example Hook. I always end up getting a little trigger happy and spendy. This time it was Star Trek. As of yesterday I only own Nemesis OST. I keep meaning to fix this and it keeps getting put off. Well I found an EBay deal for three OSTs for 18. Khan, Undiscovered Country and First Contact. Well, then it occurred to me that I have to get Insurrection so I at least have 8,9,10. So I bought that one for another 9. And I really should have Frontier as well. Now I’m just 1,3,4 and 7 away from owning all the original soundtrack releases. Well but then I couldn’t stop thinking about the newest remasterings of TMP and WOK we just got… so I bought those too from SAE. I am going to try to keep myself from buying more but one of these days Intrada is going to get a biiiig order from me with the complete 3,4,5 and 6 hitting the cart. I’m just hoping that day isn’t later today. Pray for me, JWFam

And no one's going to remember DoD because of the music. Certainly not the average moviegoer.

Your father was weak.

Oops, it was meant to be .

GORKY PARK is a criminally underrated score (and film).

Never got around to posting a comment on last week's episode. That was nice, if a bit lukewarm, and felt a bit rushed; maybe 10 or 20 minutes more would have given it a bit of space to breathe and prevented some bits from coming out of nowhere, but then I guess RTD has always been prone to that to some extent to begin with. Miriam Margolyes was fun. Now this week's episode - very good! Nice balance of mysterious, grotesque, and some outright creepy bits. Gold's scores are much more subdued so far this time around, but they do work well, and in doing so still seem much more interesting than anything I heard during Whittaker's era. And while I don't really remember anything about the Flux (and found that whole series to be so all over the place and random that I probably never figured out what it was about to begin with), RTD successfully leverages it to give the Doctor back the melancholy he started out with during RTD's initial run and wouldn't begin to get over until the Moffat era. Fits Tennant's Doctor persona(s) very well. PS: I don't think the "mavity" thing it a simple throwaway joke. Seems to me it points to the Doctor and Donna disturbing some timeline when they landed in that tree, triggering whatever is happening when they return to Earth to meet Wilf.

I would agree, but I think there are ways to dance around it some: I never felt that Tauriel diminished Eowyn, because we can accept Elves being more progressive than Men, certainly the very Dark Ages Rohan. AND in the case of Héra, the fact that Eowyn is narrating her escapedes, is (or could be) a pretty clever way to present her as something of a projection of Eowyn's.

Sorry to hear it. That was one of my absolute favourite moments in DIAL OF DESTINY. I was both moved and got goosebumps at the same time when Indy uttered those lines; finally recognizing the greatness of the - over the years - much maligned TEMPLE OF DOOM. And also playing up his old and weary body and everything it's been through over the years. A war wound story, like the one they tell each other on the boat in JAWS. Casting Connery in THE LAST CRUSADE was a deliberate "in-joke" suggesting that Indy was a sort "son of Bond" in a non-literal sense, i.e. an heir as a film action hero. It's recounted in Douglas Brode's ultimate Spielberg book. It's a superb sequence, a straight-up tribute to Busby Berkeley and 42ND STREET, in particular.

When you have good friends, you end up with autographs of a lot of people... I've collected quite a few, more by sheer luck, people being at the right place at the right time, and asking for a signature for a friend (me), than actually looking for this stuff. As someone else posted, this are nice to have, even more if with a dedication (Christopher Young was so kind in writing "Miguel, we miss you", when a friend asked him for an autograph on the cover of his "Cinema Septet" promo set), but for me, certainly not must haves and certainly not at the expense of the composers well being. Having that said, not a day goes by I don't glance in awe at the John Williams autograph that reads "To Miguel", on top of the Jurassic Park sheet music, a dear friend got me some years ago (not naming you, but you know who you are!).

You're damn right Spotify!

I love the first one!

In addition to receiving a nomination for The Fabelmans, John Williams earned 2 Grammy nominations for Dial of Destiny! Well deserved imo.