filmmusic

Perhaps the differentiation should be made between "optical", and "digital".
Optical effects involves the use of practical elements of some kind (minatures; matte paintings; the use of real elements such as fire and water). Of course, these have to be composited within a camera, but, to all intents and purposes, they are "real".
Digital effects, on the other hand, are created exclusively, within a computer, and contain no practical elements, whatsoever.
Of course the effects of THE TEN COMMANDMENTS are not in-camera, but, to these eyes, at least, they look more real than CGIs will ever look.

The optical effects in THE TEN COMMANDMENTS, as crude as they may be, are there to serve the story.
The CGIs in AVATAR, are the story. They are the sole reason that AVATAR exists.
Unlike the effects in THE TEN COMMANDMENTS, the effects in AVATAR have no integrity.

I love Little Buddha!
Too bad that there is no blu-ray in the OAR.
 
* * *
The Prince of Egypt
Great score and songs, most impressive scenes in an enjoyable animation feature about Moses' story.
The Ten Commandments still is my favourite incarnation of the story, but this is a worthy adaptation too!

Be sure to check out Wuthering Heights too:
 

I think part of the problem is that shipping of heavy scores is expensive, and taxes & customs apply to the shipping costs as well.

That is an astonishing amount of money. That’s over 50% tax/duty surely that can’t be right?! Insane that globalisation is so easy if you’re a multinational and set yourself up to avoid taxes here, there and everywhere but individuals who happen to want to purchase small quantities of niche products are fleeced. See also U.K. customers needing a minimum spend at Music Box Records, fortunately able to and overall cheaper then ordering from the US due to much lower shipping, but hardly the point. You have my sympathies. 

Be sure to check out Wuthering Heights too:
 

Sad news..
I'm partial to this piece from Little Buddha, which seems like an appropriate farewell:
 

I'd also plug my own Ph.D. dissertation on John Williams's style (unfortunately in Greek):
https://pergamos.lib.uoa.gr:8443/uoa/dl/frontend/file/lib/default/data/2926491/theFile
 
Summary:
The present dissertation aims to outline John Williams’s style, as it is evident through his film music themes (1975-2018), from a sample of 71 films.
In the introductory chapter the definitions of style and theme are clarified while the historical significance of 1975 with Jaws – as the starting year of study of the composer’s style – is pointed out. The present bibliography around Williams that has to do mainly with the narrative nature of the themes is touched upon onward, the chapters of the research are summarized and the methodology that was used for the writing of the project is presented.
The first chapter examines the horizontal axis, namely melody. The composer’s difficulty in building melodies that sound inevitable is noted, while some common melodic features of his themes are mentioned like a distinctive rhythmic design that gives melody breath, distinctive note patterns with large leaps from the very first bars, unique to the composer’s style, as well as well-defined phrases with strict borders that remind of neoclassical themes. Fourths, fifths and seconds constitute dominant intervals in melodic building, while Aeolian mode is dominant among the composer’s modal melodies.
The second and largest chapter of the dissertation concerns harmony which is mainly chromatic but tonal, an amalgamation of older styles and composers. Harmonic occurrences that pertain to the quality of the chords like modal inflections, specific harmonic progressions like the “tarnhelm” progression and the progression that includes the raised subdominant, double dominants, parallel harmony etc. are presented in specific examples, while the nature of their structure like in quartal harmony, in seventh etc. chords, in added-note chords and in pedal, doesn’t remain unexplored.
In the third chapter of formal archetypes some of the most basic syntax types of the total volume of Williams’s themes are pointed out, with sentence and period – both originating from classical prototypes – dominating. In the meantime some “new” types are mentioned like the sentence with a dissolving third statement, the trifold sentence or the developing sentence, all more modern versions of the classical sentence. A summarized statistical table is presented in the end of the chapter, that examines each type’s frequency in the themes under analysis, as well as some conclusions that are hidden under the numbers.
Thematic unity constitutes the subject of the fourth and final chapter. After the need for connective elements between the themes of a film is examined, the chapter moves on to 11 examples from films where the phenomenon is more or less evident. These connections consist of motivic similarities in the foreground or background, while the analyses are influenced in a large degree from Reti’s, The thematic process in music.
The epilogue, after formulating in its beginning the dissertation’s contribution to the academic world, namely the grouping and systematic presentation of the general stylistic traits of Williams as a film composer, summarizes and recaps its basic points.
 

Falstaft has given you good starting points, but there has been an increasing amount of musicological work on JW of late — so it would be impossible to pin down everything. And check the bibliographies of the books/chapters too! 
 
I quite like Tom Schneller's look at Williams's use of modal interchange across numerous themes. It really helped me get started with my own research. 
 
There's also some theses I've seen online focussed on Harry Potter and A.I., among others. 
 
(I'll also plug my first article that came out last year)
 
(Also DM'd you a link you might find helpful).
 
Yes it is a musicological book, written entirely French. It's focussed on the original and prequel trilogies specifically.

Clannad score and songs for the 80s TV series Robin of Sherwood.
Really loved the series, and the score/songs. Ethnic influences and a synth score (with some real instruments).
Good stuff...
 

Krull - James Horner
 
Confession time...I never heard this score before today🙄. It's great.
I get why so many people talk about Ride Of The Firemares!! It's breathtaking

I'm sad that many of you find Hook a  bottom 5 Spielberg, out of all he's done.
It's one of my favourite films and scores.

It might be "ordinary", Bes, but the dragon is fucking brilliant.

Yes, he did. 100% certain.

First time viewing.
I enjoyed it for what it is, but I guess I enjoy other fantasy films from the 80s more (like Willow, Krull, Labyrinth, Legend).
The score by North of course is masterfully written but I felt sometimes that it didn't fit so much. I don't know...
I have heard this from other sources too..

I want to see The Fabelmans (to hear the music in context mostly), but I'm afraid that I will get bored...
 
edit: Ok, I watched it. I didn't get bored too much, but again, it felt an ordinary movie with no magic, not directed by a great filmmaker that Spielberg is.
And an Oscar nomination for uncle Boris? Must be the shortest role nominated for an Oscar since Queen Elizabeth in Shakespeare in Love? I don't know.
Now, about the music, it felt even shorter in the film than it does on cd. A couple of wasted opportunities for original score, but who am I to judge the spotting notes?
All in all, this is, I think now, my least favourite Spielberg Williams scored film, only above 1941.

How was the score? I understand it is nominated at the IFMCA.

Never seen Vertigo. I've only seen 4 Hitchcock films:
Psycho: Brilliant
The Birds: saw it when I was maybe bit to young, and then it scared the crap out me.
Rebecca: Gorgeous film (that remake did not work out)
Rear Window: Probably my favorite of his. Incredible film!

Oh, I see. I prefer this debris than the complete degraining and recoloring of these animation classics.
I can't stand watching the Disney animation films from blu-rays, and I watch them either from DVDs (pre-"restoration"), or 35mm scans.
 
Here's an example of recoloring from Alice in Wonderland.
Left: 35mm, Right: blu-ray

Well, to me it's not a matter of preference but what it's original.
I want every movie to look like it was released in theaters with all its limitations of its era.
 

Even if the movie has baked in debris on the negative e.g. the older Disney animated features?