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It's nothing like 'Jaws', unfortunately. More like 'Deep Blue Sea'.... I liked 'The Lost World' better...here the shoddiness was part of the deal and on that level i could enjoy the 'King Kong' finale and even the silly gymnastics. Spielberg's action directing in this one was rather superb (the Van, the raptors in the grass etc.). Jurassic Park was a LOT better than The Lost World, I thought. Overall, including story. Both are bad films, the second is just more honest...and thus, more fun.

It's a faulty argument because it tries to establish the notion that a film composer is an artist, first and the demands put upon him by the industry are a faraway second. Which obviously is wrong, as the mean Mr. Temptrack can assure you. And another thing: who is to decide if a certain style/piece isn't 'new' or 'fresh' anymore? And the third thing: all this nonsense because of a negligible 40-second jingle?

It's nothing like 'Jaws', unfortunately. More like 'Deep Blue Sea'.... I liked 'The Lost World' better...here the shoddiness was part of the deal and on that level i could enjoy the 'King Kong' finale and even the silly gymnastics. Spielberg's action directing in this one was rather superb (the Van, the raptors in the grass etc.).

'JP', the book, may not be high art, but the movie is just a lame potboiler, not acknowledging any of the more ambigious moral questions of the book. It's done like a TV movie with an A-budget. Jeff Goldblum was fun, though...

'Schindler's List' is hardly a new frontier explored, musically speaking. I can take that people like the melodies, but apart from that it is a rather conventional work.

Maybe 'Mall Cop' doesn't have any...it's a better movie than 'Jurassic Park', then. All i remember of 'JP' is that i found it lame even in '93. Having just read the book, the film was a terrible letdown, cookie-cutter Hollywood style.

Isn't 'His Girl Friday' from 1939? If yes, that film was a hoot. Then there is 'Jezebel' 'Duck Soup' 'Dark Victory' 'Robin Hood' 'Scarface' 'The Public Enemy' 'Captain Courageous' 'King Kong' well, there's too many to list, actually...

I did like 'Hanover Street' a good deal, listening to the samples, actually...

You also have no taste If the reward of this heavy burden is not having to watch lil Steve grabbing for brownie points, i'll gladly shoulder it.

Are these the feeble attempts to rehabilitate poor and rightfully forgotten films like 'Amistad? By besmirching 'Titanic', because the water didn't look right? it's really....PATHETIC.

Oh, so if somebody prefers composer A over composer B they'll be respected, but if they prefer score A over score B, then they are logically a fanboy or nuts? I disagree with other people on the best score of 2008, and think that my choice should be respected just like any other choice. Did you have a special seminar on 'how to Goebbels people'? You just lay this demeaning stuff in my mouth i've never even alluded to. Stop it, dude! Give 'em hell, Mark!

I wasn't dismissing anyone about preferring whoever - you just put those deragatory things in my mouth. And you also didn't say anything in terms that broad like 'i prefer composer A over B'...it was the latest 'Indiana Jones' score you were heralding like it was manna from heaven.

I'm not him but i would say that when i listen to (film) composers like Roque Banos or Frederic Talgorn, i don't get the impression that their technique and imagination is that far behind Williams. It's just that americans seldom listen to stuff like 'Les Enfants de Timpelbach' or 'The Red Needles'....

How? Now, we like our comic strip heroes dark and Freudian with a good dose of pseudo-realism (or better: naturalism).

'Miles on Wheels'!

While i'm not generally interested in the new stuff, i noticed that i grew rather fond of the frenchies (Desplat, Talgorn) and have always a watchful eye for the more traditional Newton-Howard scores. New Scores to consider: 'Largo Winch' - a Desplat in Bond mode, very good LESBIAN VAMPIRE KILLERS (all caps, of course) - Debbie Wiseman of 'Arséne Lupin' fame, a bit derivative but mightily well-crafted and well-orchestrated

I haven't even seen them but i somehow doubt you even bothered to listen to Powell's stuff. Powell may not be a very 'deep' composer (which means so much to some), but to deny him his catchiness is absurd. Just listen to his inventive instrumental ideas and decisions. The last time Williams got that playful was...well... a long time ago ('Prisoner of Azkaban' has at least some of this).

If i take 'MI III' as an example of Giacchino's writing, i'm rather less impressed, the same goes for 'Lost'. I kind of liked 'Ratatouille' and some of his earlier videogame work (which was highly derivative), but on the whole, Powell is much more adept at rekindling my lust for new film music. At least my iTunes library shows more than 40 pieces for Powell, whereas G. has around 10. Rubbish. Williams on his most uninspired day bores the tears out of everyone while a juicy Powell animation track can get you alive and kicking for an hour.

It's a less dark and more romantic precursor to 'Dracula'. Has anyone seen the film and knows how much music is missing from the old LP release?

3,5. Solid, if a bit been-there-done-that.

Spielberg is not necessarily a better illustrator of father/son relationships now because he has a son. I think the number of people who stand in awe after seeing 'Minority Report' because of this yea historic filmic portrayal of a father/son relationship comes in very manageable quantities.

Thank you.

He came close in 'Presumed Innocent'.

I liked the concept...gimmicky as a 3-D film in 1952, but it worked (not counting the more idiotic characters, but they seem to be inherent in the genre). Saw 'The Bone Collector'...who writes those plots? Dir. Phil Noyce always is a reliable craftsman, but when you sitting there, staring in disbelief at the grotesque story developments and have to stomach A. Jolie as mindsharp detective with handicapped Denzel Washington giving her approving looks, it all kinda falls apart. And, last but not least, 'Casanova's Big Night' : a 1953-costume farce vehicle for Bob Hope, you know, a feeble tailor's apprentice (Hope being 50 at the time!) has to change identities with the great lover and all kind of mayhem ensues in Venice...and to my happy surprise, it was so lightweight with Hope reprising his buffoon role with such surehand ease, it just was a nice rainy sunday afternoon delight. The ending saw Hope either beheaded (Paramount's version) or taking the girl and all the money (Hope's version), with Hope asking the audience which version they liked better, which of course resulted in a win for Paramount...i know it was meant as a joke but it somehow came off as a rather unpleasant way to end a fluffy comedy.

It doesn't sound like music for a jittery elf, that's for sure.