publicist

Sounds like re-recordings, though in mono. Nothing to add to my collection, i thought back then.

Coplandia, rather.

With weather this awful, it's time for another favourite out of the desert.

Yeah, and you muddied it up further. Who knows. Who cares. I just pointed out that the press release did raise my suspicion. It doesn't matter much, though, since both conductors certainly are most capable.

Whoever feels the itch to listen to Jerry's Walton's tune in a modern arrangement (sans pizzicati etc.), your ship has come in. At least in the first cue. The rest is nice in a superficial and not very stimulating way.

Who cares, really. I will watch this streaming just out of curiosity if Spielberg's going senile or if there's really a meaningful purpose behind all this.

A good copywriter would assume it's voiced so ambiguously to hide the fact Dudamel did just enough circus horse parading to get his name on it and the LA guys then did the real work, but i have no idea if that was the case.

The last point was the least tall order, having the guy who just had done 'Rent-a-Cop' and 'Alien Nation' (rejected).

Time to plug my HTWWW playlist.

The 'ole Tarantino 'my old records' mesh has seen better days.

The lovely re-creation of victorian England: a total waste in aid of a stupid storyline. A kid Moriarty would have provided a perfect foil (the Draco Malfoy of its day), instead we get an overblown underground cult totally put of place in ACD's world. And they didn't even recycle the TOD sets, which would have made the decision understandable, at least from an economical standpoint.

In honour of the new LLL release: one of the last remaining biggies from Hollywood's golden years without a *proper* deluxe (or legal cd) edition, and for Newman it's probably the last. The story is familiar: from 1942 to 1944 a group of dutch jews hid in the attic of a house in Amsterdam. 13-year-old Anne Frank experiences the fear of the persecuted, their desperate hope of rescue, their weaknesses and disputes, but also their tenacity and solidarity. The laconic, matter-of-fact style of the real diary is - in true Hollywood style - pumped up into a big, conventional tearjerker, restrained a bit by great actors. Newman's score, by itself, is a hearfelt, flowering piece of romantic south-californian straightforwardness, something he delved into with a lot of passion. This emphasizes the film's weaknesses at key points: the music in the Anne/Peter scenes is borderline saccharine, and their waltz-like theme on a thousand high strings is anything but timeless. But these aesthetic complaints aside, it's a real wonderful piece of work: Newman travelled to Holland because he was so touched by the spirituality of the story. And several of his themes, chief among them the main title tune, musically capture the longings of the oppressed families - listen to 'Families in Hiding' for a delicate musical portrayal of a montage, with many painterly woodwind fingerprints that recall later John Williams and James Horner stylistics. The other cue i will point out is the longest, 'The Dearness of you, Peter'. Newman again demonstrates his spectacular talent for heartfelt string writing, guiding us into a big emotional release coming after the 6-minute mark, which is abruptly cut-off by a menacing horn chord, reminding us sharply whose story this is. The score provides four themes: Anne's Theme, a a solemn yet impassioned faith theme, and the aforementioned waltz theme. The old LP offered 38 minutes of score, a perfect length, but this being a Fox Cinemascope roadshow picture, the usual luxuries as entr'actes, exit and intermission musics and such are of course a must. As a nice bonus, the LLL releases offers many variations of cues that differ between LP and movie, but most importantly the somewhat muffled original elements are going to sound better than ever, which for me always is the first criterion why i update. Take this as an encouragement not only to devote time the zillionst re-release of the scores of your formative years. The old saying 'the older the wine, the better' may not be always true, but in this case, i'd say it is.

Even if i'm not especially taken with his more intellectual finger exercises of recent years emotionally (same with Wintory), i'd wholeheartedly agree.

One of the great 'Big Outdoors' movies, 'The Trap' (shot 1966 mainly in the breathtaking wilderness of British Columbia) concerns a beautiful mute orphan girl (Rita Tushingham) who is force-married to rough trapper Oliver Reed. The two outsiders warily grow closer in his hut and weather all kinds of challenges and Ron Goodwin provides the uplifting music. By today's standards it's almost shockingly lyrical, though like with many of Goodwin's works, he's better with establishing shots than with the long dramatic scenes. Still, with so much nature on display Goodwin makes his mark: once you've seen it it's likely you will never forget his glorious main theme (which sounds like a folk song on steroids). Fun fact: You’ll recognise this famous tune as the theme played every year to introduce TV coverage of the London Marathon.

Well Thor, that doesn't exactly help that you're the only one who can listen to it.

'The Diary of Anne Frank' is indeed a pleasant surprise (and a much better score than many of the more anticipated ones). Hope it's not mono.

New Marianelli, in large spots forgettable Hollywood-type xmas fluff, but takes up some speed in its second half ('The Precipice'!), where it's occasionally on 'Krampus' level (the last convincing *new* score of this type).

I don't know if you seeing things (or not) is a decisive factor here. The Coens have acknowledged the Altman influence, as have several others who commented on the hip 70's updating of Chandler. It is very obvious that it's not just another Columbo episode.

The Big Lebowski, Inherent Vice, just to cite two (three) influential filmmakers. But there were tons of guys like Barbet Schroeder (Barfly) etc..

It's certainly that.

It's repetitive and boring. Even the 44 minutes by far outstay their welcome. But i quite like my 13-minute selection.

Miles ahead of what 'content' allows these days, is a more apt description.

In these barren times with hardly any themes that counts for something. And i'm thankful for brevity.