Thor

If you like drama scores, you should definitely check Murder in the First. I think it's Young's masterpiece!

More for THE NAKED GUN movies. And TOWERING INFERNO.

https://filmstories.co.uk/news/in-the-blink-of-an-eye-digging-into-wall-e-director-andrew-stantons-ambitious-upcoming-sci-fi/
 
Really interesting article about Newman’s next film. Seems really suited to his strengths, especially the lack of dialogue in places and the description of the tone of the end of the script. A nice read…

I can't comment on the packaging, as I never got it physically. But I got a digital version. Despite the film being such a huge nostalgic favourite of mine, and the score excellent, I found the presentation (predictably) too long, repetitive and aimless on occasion. However, I've whittled it down to a great 36-minute playlist that also includes the three best songs at the end. Now it works like gangbusters. Obviously, if you're a fan of the film/score, and since the OST was a "songtrack" without any score cues at all, the LLL is the way to go in any case. Same goes for the sequels.
 

More for THE NAKED GUN movies. And TOWERING INFERNO.

That's true, but it's doesn't need to be a science fiction film, like many people think. Other types of "universes" can be expanded too. And it's not only to do with the setting, but the way the filmmaker has staged that setting. In the case of GLADIATOR, it isn't only the richness of the Roman empire in itself, but also the particular way Scott has staged it (as previously noted). THAT'S what I want to see expanded and explored further. If it were just Roman times, I'd watch the ROME series instead, or something else set in the era.

Let me add that there are obviously bad prequels and sequels. But ultimately, one needs to judge the film on its filmic merits. What I don't get is people having a principal stand against prequels and sequels as a thing to begin with, i.e. hermetically closing a rich fictional universe simply because one particular story has finished within it.

Agreed. Very autumny. Even if HowardL over on FSM somehow gets winter out of it. Either way, I adore this score. And the existing presentation is perfect as-is.

Orange/brown.  A quintessential fall movie

Working with Madonna on this was not an easy task for Korzeniowski (or so he said), but it resulted in one of his finest scores. Gorgeous post-minimalist romanticism back when it was hot and fresh. This is a 17-track promo, so slightly different from the commercial release.

Working with Madonna on this was not an easy task for Korzeniowski (or so he said), but it resulted in one of his finest scores. Gorgeous post-minimalist romanticism back when it was hot and fresh. This is a 17-track promo, so slightly different from the commercial release.

Just got back. It was rather good!
 
Despite a full orchestra involved (slightly under-appreciated), the emphasis was fully on the soloists - all of whom were superb.
 
Highlights:
 
A brief but intense suite from The Rock - didn’t expect that to turn up but it was fun
 
A glorious - and very lengthy - suite from The Prince Of Egypt. This was utterly superb. Parts from the burning bush and chariot sequences, punctuated by some fantastic live vocals.
 
Gladiator - this was great due to the presence of Lisa Gerrard. The Gladiator Waltz, the wheat stuff… all covered
 
Lot’s of other enjoyable smatters. Bit drunk.
 

 
 

Sampled it too, and God, that was annoying. Encapsulates everything I dislike about Desplat (cloppety-clop quirk). Only positive thing I have to say is that I liked the return of the pan flute in one of the tracks - a much criticized instrument over the years that I've always enjoyed and always wanted to make a proper return. 

The film is a classic and reference point. 
 
I love the score, of course, but it's in that 'evergreen' category that's been kinda overplayed over the years. In recent years, I find myself listening more to the less famous Morricone titles, than the THE MISSIONs and spaghetti westerns and CINEMA PARADISOs of this world.

His best song (and one of the best themes).

Hey, MSM, seems like you got eye contact in that last shot! I got one too, in Boston 2014, but alas didn't manage to take a picture of it.

The film is a classic and reference point. 
 
I love the score, of course, but it's in that 'evergreen' category that's been kinda overplayed over the years. In recent years, I find myself listening more to the less famous Morricone titles, than the THE MISSIONs and spaghetti westerns and CINEMA PARADISOs of this world.

His best song (and one of the best themes).

Love this album, smack in my favourite TD period. I know this will get Alex's knickers in a twist, but I don't like Tangerine Dream's 70s output. Too experimental, weird and noisy for my delicate constitution. I own RUBYCON, of course, simply because it's a must-have classic and not too bad, and I like STRATOSFEAR. But my TD fandom really starts with TANGRAM in 1980.

This 1980 album is really my starting point for Tangerine Dream appreciation, as I mentioned two posts up. First album that has those delicious, melodic hooks and riffs that I love.

The 37-minute stereo program has recently been released digitally! Yay!
 
Also this: 
 
And this: 
 

The Boy Who Swallowed A Star is the absolute highlight from this album. But even though I adore many tracks on the album I never found this a good album listening experience. Still, together with Mononoke and Hana-Bi my favourite Hisaishi score.
 
Still absolutely in music heaven with this boxset. 

 
6 disks, a hundred tracks and each one at least an 8 out of 10. As mentioned before, just one track per score.
During the week I dipped into some of the OSTs and it seems like they really managed to select my favourite track of each album for this.
And even though the order of the scores is chronological the albums flow surprisingly well.

I've always struggled with Rosenman, although I'm fascinated by the person (and his self-aggrandizing comments in interviews). I like LOTR (sorta) and ST4, but most other things have left me cold, including the classics mentioned in this thread (James Dean flicks, THE COBWEB, FANTASTIC VOYAGE, CROSS CREEK, POTA). ROBOCOP 2 is total overblown cheese. I think he said once that the only reason he didn't do the first was because he wasn't available, which of course it totally false. This was also before his dementia, so can't blame it on that either.
 
I mostly struggle with his tone pyramids and that layered, insistently dissonant sound. But hey, I aim to give him another chance soon.

I thought Batu Sener was the name of that tiny, cute mechanic in the new STAR WARS films.

I thought Batu Sener was the name of that tiny, cute mechanic in the new STAR WARS films.