Jacck

Quote I just saw in the FSM thread for the score

well, it is a British story about an orphan who unexpectedly enters a magical world.
 
As for the shopworn critiques, sure, the man is 84, anything he writes is going to resemble in some way music from the 1000 hours he has already written.  I will say this, there is a classical vibe here that I do not hear in HP, HA, or even WH. 

To prove your point about memorability, "Overture" has been stuck in my head for the last 15 minutes! I love how you describe it: elegant and like a dance. The music sounds so graceful. 

A shopworn comment, if there ever was one...

Love the "Frolic" track
 

The Overture brings some of his concert work to mind, which is never a bad sign.  
 
Also woodwinds are always such a lovely thing to hear in a film score in this day and age of endless string ostinati and drums.

Here's the track listing, courtesy of Amazon UK:
 
1. Overture
2. The Witching Hour
3. To Giant Country
4. Dream Country
5. Sophie's Nightmare
6. Building Trust
7. Fleshlumpeater
8. Dream Jars
9. Frolic
10. Blowing Dreams
11. Snorting and Sniffing
12. Sophie's Future
13. There Was a Boy
14. The Queen's Dream
15. The Boy's Drawings
16. Meeting the Queen
17. Giants Netted
18. Finale
19. Sophie and the BFG
 
https://www.amazon.co.uk/BFG-Soundtrack/dp/B01EX1AUL0?ie=UTF8&psc=1&redirect=true&ref_=ox_sc_act_title_6&smid=ATVPDKIKX0DER

In Russia, Condom 'wears' Cock!

I would like to see a version of this scene on the subject............
 
"No matter how long you live, there is something that will never change between us. I still have my hoody...........and you don't"
 
* Armand Assante left visually stunned by the stark reality of being circumcised *
 
 
 

Well that's rather scrooge of you!  On over-sensibility - that's quite funny 'cause I conceptualise those circumcised as under-sensitive!
 
I must say though that I do prefer the visual aesthetics of a circumcised flaccid penis. *smokes pipe; looking out window*

A Turtleneck!

Okay I'll take that back.

Point is also that, in subsequent films, music became a lot less important as a central element to establish feelings, tone and narrative flow. Just compare the role of music in the first film with the last one. Of course it's also a matter of directorial style, which probably lent itself much less to the typical grand symphonic gesture Williams used in the first three films. Columbus used a very Spielberg-like style (albeit only in a superficial way) that really called for the Williams-type of sound. Cuàron went on a very different path, but at least inspired Williams to come up with a very diverse and eclectic piece of work (from Renaissance-inspired orchestrations to the Rossini-esque waltz, passing through Stravinskian jazz for the bus ride and avant-garde writing for the Dementors). Yates instead came up with a directing style that was more like television miniseries routine, something that probably needs mostly atmospheric underscore.

It's funny how many people instinctively go to bash.... I actually smiled when I heard that theme. Interesting chord change in there that is unexpected which I always love from him. The mickey mousing never bothers me and it's actually pretty hard to do very well. It's being able to handle the orchestra in a very smart and deft way and use all the colors available. Not many people can do that now. Hardly anyone actually. But it's also not modern day scoring which is why it's not done. I can understand some reviewers claim of heavy handed because nowadays it's how can you best make this scene work with as little notes as possible. Does it work in film, sure, can it be effective, sometimes very effective, other times not, but can it also be memorable or have any lasting effect or be listened to outside the film, hell no. The one thing I love about Williams is how many themes I can hum, how many chase scenes I can recall beautifully and how they all are so different. I can't say that about any other film music composer. I'll be waiting for this to come out even more excited now. 

Very effective trailer.  As for the "mickey-mousing" criticism, remember the target audience (hint: it is not us). 

I don't have a problem with any of the material. It all sounds wonderful!

Ever heard of the concept of mercy?

Geez, the guy is 84. Think you can cut him some slack for not reinventing himself with every project.

I won't read a single review. And I'm not interested in any opinions of jwfanner, they are mostly bs these days. I'll wait and trust the best equipment there is, my own ears.

I realize Spielberg brings this upon himself by premiering a movie like this at Cannes, but do these critics realize who the intended audience for this movie is?  It is primarily for kids and, to a lesser extent, non-cynical adults. 
 
Edit: this reviewer gets it: http://www.telegraph.co.uk/films/2016/05/14/the-bfg-review-steven-spielberg-and-mark-rylance-create-a-landsc/

To play the note, you have to become the note!

He knows how to coax a good performance out of the players. Like a zen-master of music making wisdom.
 
Flutes! Play or do not play! There is no try!

"‘Just play as if it is already there."
 
Johnny seems to be full of these little musically philosophical nuggets, they just pour out of him.

By micro-editing notes from the music all over the place!