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The main melody is doing its job and not particularly memorable, but next to 'Black Sunday' and some of the 'Total Recall'-ian moments in Episode 7 it's Williams' most Goldsmith-ian action music in its daring meter changes and due to the many orchestral embellishments (contrary to JG's stripped-down 90's stuff), it's also a more interesting take on this kind of action writing. It's a great cue, period.

We recently spoke about Rózsa's timeless themes (for historial epics) in another thread recently, and in regards to this topic i answer it with a quote from old Mickey himself: A lot of Williams (or Goldsmith-, or Horner-) scored movies will fade from public memory, with Williams track record in regards to long-standing hits being much higher, of course, but the music will remain (or at least the most distinctive elements from it). So i guess my answer would be, even if the number of people will dwindle, the movies will continue to impress (not all of them, but a lot), because the music is lifting them.

IMDB says this is a kind of nature doc, amongst unexplored and inaccessible valleys high up on the Tibetan plateau lies one of the last sanctuaries of the wild world, where rare and undiscovered fauna lives. The Cave/Ellis style is what you would expect, voices (male/female, electronically manipulated, beautifully), low string and guitar chords, but much more lively (woodwinds!), better orchestrated and varied than i. e. The Road and such things, which i find terribly one-note. This one is occasionally even spellbinding, maybe because it describes very different nature scenes. Obviously there's running animals as well as atmospheric stillness, so the album keeps changing moods and tempos (comparable to Bruno Colais' nature scores) and i'm not afraid to pick it as one of 2021's best (no big feat, tbh). The epic last 10-minute cue is bookended by a Cave song that unfortunately carries rather cheesy lyric-making, but in a way this is Cave/Ellis 'Wolf Totem' (even the final cues lengths match). Recommended. Sketchy, thy name is 'Spider-Man: No Way Home'. In what must be his 100st outing for Marvel ip's for people with a low entertainment threshold, Giacchino is his usual self: a bit like these asian or italian Jaws etc. rip-off's in the late 70's he sounds a bit like the real deal (meaning the film music of yesteryear), but after one or two blinks you realize the lack of finesse and craftmanship that good writing for orchestra requires. Stumbling, unnatural chord leaps, whenever there is brass (or a bold theme) in sight, action and suspense stitched without much consideration to join them, and in quiet moments (you know, these 'meaningful' single piano hits you often find in trailers) it's just boring. But every cinema generation gets the music it deserves.

Hydroxychloroquin?

Like a long-running tv series you can't escape it, just by sheer exposure. But starting with the two Elfman's, highly celebrated back then, i just don't hear either a great deal of distinction or inspiration, musically-speaking. Certainly gets the job done, but without the inexplicable fetish many guys have for this particular franchise it would just have been lost to the ages (like so many other over-busy Elfmans for flop movies).

Probably the most american vatican music ever. But then Moross remains to me the most quintessential american composer, just a tiny notch below Copland.

Horner and Zimmer. Not because they are particularly great, but my affinity for the others (that i've heard) ranges between zero and 1.

I get that. May i still say it felt somehow odd?

Finally Succession S3. Improved on the more laggard S2, though it felt somehow odd at the end of 2021 seeing the american media jet set running all over the world without face masks. Murdoch-ian patriarch Brian Cox owns this season (exquisitely King Lear-ish), and as in the last two seasons there's a VEEP-ian fun in the bitchy repartee, but there's also a more pronounced despair in the frantic gymnastics of the various 'meat puppets' angling for either the throne to Cox's crumbling media empire or at least a cusp of it. It even made me turn off my phone, just because everyone in it is so hooked on constant phone calls or incoming messages. Though the finale leaves one intrigued for Season 4 - loud bells of fate for the Roy clan and their hanger-on's - at least i increasingly wished for one story strain or character development that would cut through the thick brick layer of cynical opportunism of everyone involved, which can get nauseating when you watch it all in one gulp (it's probably - and sadly - a rather acute portrayal of american money aristocracy). There's not one person in it you'd really want to meet, even for lunch.

It's a match for the movie in all its superficial gestures/lack of depth. But nice love theme, i give it that.

And the score ain't that great either.

It's probably for free on Netflix. Overlong garbage like 'Armageddon' or 'The Patriot', that was money wasted afair, but at least still Deutsche Marks.

I hope by Previn's hand, at the very least.

Certainly a twilight score, like many of his later/last works. It's not just all the re-use of older ideas, it feels like he was fading away even before the tragic accident. Who would've thought? I checked FSM because it seemed the only sensible choice. Rhino means it's lost to the ages, though.

Cool Previn score for a wretched MGM opus from the early 60's. Sadly never expanded, as the main and love theme beg for more showcasing.

Releasing shitty movies hasn't pissed off any customers for decades.

I find myself wondering why the motherlands of capitalism are so slow in closing this obvious income gap.

Of course, always like this in german cinemas. And there was a time when you didn't mind because the actual number of films exceeding 120' wasn't high. With 'Braveheart' & Co. this all changed and suddenly every POS movie was 145 minutes long.

Everything that runs beyond 120 minutes.

About 8,80€. Though with the usual surcharge (overlength, 3D, whathaveyou), you end up paying more all the time.

Could be.

Mambo, anyone?

Out of seasonal responsibility: Goldsmith's only Joel Silver score, and the testosterone shows. Go, drum machines! (it might be Goldsmith's most Zimmer-y venture offering his own take on brash power anthems) In his book, 'No Minor Chords'. Still the most funny read for Golden Age fans. The stories often revolve around a clueless management vs. dedicated artists, i. e. Rózsa, who would out of sheer musical dedication studied many historical scripts about i. e. ancient or medieval musical forms...only to become background to a wholly unbelievable Lana Turner playing a french courtesan. The story behind the title remains a favourite: mogul Irving Thalberg is in the MGM recording studio, his eyes signaling displeasure. What's that i just heard?`he asks the composer. The composer, guessing, 'You mean the minor chord?' - 'Right' says Thalberg, 'from this day on, no MGM picture will have a minor chord in its music, ever.' (the verdict was placed as a plate in the music department, where Previn saw it and became delighted by it).