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This affects part 2 in a much more harmful way. Who's to blame him, saw parts of the movie and it was horrible. And to be honest, the same problems befell Williams on his recent SW scores.

It's a completely different piece, apart from a superficial similarity of the opening phrase.

Really? Here in Germany, Amazon Prime has both, Potter and FB on steady (free) rotation since years.

Pemberton does Dreamwork cartoons. Best described as Ocean's 14 it's slick and breezy, but suffers from its cursory nature and the lack of something beyond those slick chords, as it is, that's not enough to leap it above the fray.

Don't be too sure about that, half of America still seriously considers voting for Donald Trump and he's living proof that the old guard is very much alive. The Smith/Rock affair is cringy and awkward for all involved, sure, but let's be serious for a moment: there's a war going on close to Central Europe, we don't need inane crap like this being blown out of proportion right now.

You are on a discussion forum, offering often a bit childlike positions on everything from world matters to film composers. Deal with the occasional backlash, dear.

Again you seem to delude yourself into thinking the entertainment industry, home to millions of flim flam men, professional liars, narcissists, thieves and god knows what else, should adhere to the standards of UNO or something. Let's just be thankful it happened at the Oscars, not in the war room...

Greenwood would have been the more deserving winner (though rather for 'Phantom Thread'), but Hans' & Co. win is not undeserved, so there.

T'is is not the season, but since it was Silvestri's birthday this seems most celebratory.

Just buy 'The Last Valley'. Barry, like Morricone, isn't a composer where you need every last minute of music, there's a lot of low-key stuff on Bond that ain't that great. And the expanded editions that are out since the early 2000's include his most important contributions on very long albums.

There are long, dramatic cues like 'Sheva's Decision', 'Eleazar Speaks' (Masada's infamous mass suicide decision) and 'Silva's Soliloquy' that are very good. It's all i kept but when they play i feel in good musical hands.

The last time Horner innovated was 1992, when brought Pärt and Glass into the film music fold.

Gee, really? The point of the whole thing was to show how insensitized and numbed Bana had become through his experiences. The sex probably was meant to emphasize it, as a purely physical exercise, with a haunted look on his face suggesting he's not in the moment but relives his past experiences.

It put it in here just for you, Jay.

For the newest Almodovar, Alberto Iglesias offers a musically sophisticated 27-minute suite that can be roughly described as inspired riffs on chamber music mixed with minimalist suspense that . It's nothing substantial, but not an unengaging listen.

It's his customary Barry tune. The theme is fine, but the bridge is perfunctory and if i ever had a beef with Goldsmith's style, it's that his thematic bridges often come off as 'let's get done with this with as few notes and surprises as possible', which often make a great theme appear less so, because the bridge doesn't carry it. It works in cases like 'Rambo' or 'First Contact', but for every Long Road there are 9 others that sound shallow.

The 11-minute final race cue is a real winner, and the faux-ethnic style mixed with western composition techniques is really charming. One of my favourites from 1999, and yes, it doesn't suffer from Powell's more hyperactive later style.

Another JNH that seems lost in the shuffle. It's a charming, sometimes borderline Horner-esque celtic fairy tale score, think of his Disney scores coupled with something like 'Lady in the Water', with a unique interpretation of the score's ideas in a 8-minute Chieftains piece (The Water Horse Suite). The central cue is 'Swimming', an operatic piece fulfilling the same function as the first bike ride in E. T. and Howard rises to the task. The similarities do not end there: in the final action/resolution cues (Saving Crusoe, The Net, The Jump), the fast-paced action material (business as usual) is interrupted by the same kind of soaring, almost religious-sounding musical resolution, though it's much more fleeting here. Still, it was an unexpected surprise in 2007 and deserves a bigger spotlight next to his more well-known Disney scores of the era.

Whittled it down to 60 minutes. Doesn't need to be longer, but definitely plays better.

It's a work of great subtletly, like 'Abzu', and it's so unlike modern film music i'm somewhat thankful Wintory found that 'niche' (which of course is bigger than the movies, but still).

More unnerving the 'The Omen' for me.

Goldsmith in knighthood mode was always a great match, but of course 'First Knight' is a much more conventional approach, with the Orff, Vaughan Williams et al. quotations being much more overt than in 'Lionheart'. That being said, let's not forget that he did this as late replacement for Maurice Jarre and even though he only had a 4-5 week timeframe, he insisted on composing the big choral cue at the end - it was planned to just license 'Carmina Burana', afair. And it does profit mightily from its expansion.

It's not being polite, it's dodging discussion, but hey, no one forces anything on you. I think it's a great achievement, all things considered. Back when i was in school, SL was mandatory viewing, and while this concept fell flat on its face especially with a certain young male demographic, a much bigger percentage felt shaken and moved by it, something schoolbooks and documentaries never remotely achieved. We might bemoan certain things that can be considered manipulative or naive, but on the whole, a bleak, sometimes borderline unwatchable Holocaust movie like this just wouldn't have been possible in Hollywood at that time (without Spielberg).

Don't try to appear so overly PC, rather discuss your opinion in terms beyond simplistic statements á la 'in my opinion it's an infallible masterpiece, period'. It may be my problem, as i come from a journalist background, but i find the discussion culture here has been really come to a crawl after several older posters left the board.

You are wrong then. It's just bad style to falsify your lead character to make sweeping do-good statements that belong to another generation, especially, and that is my main beef with it and the Oscar bait reproach, if you can reasonably expect that the majority will or has to clappingly agree with you. Besides, the writing and length are too cumbersome to count as universal truth, especially with the heavy-vibrato violin playing in the back. Of course i'm talking about my reaction, i wouldn't deny anyone to be moved by such sentimentalities, but if a movie is elevated to such lofty heights, this criticism bears mention.