gkgyver

Uh, getting the Star Wars fans they deliberately pissed off, back, to pay for future endeavors, does change the outcome. 

All I hear is white noise. 

Yeah it's really powerful how the percussion is constantly off-tempo, trying to catch up, at one point gives up completely and just fucks around waiting for an entry point to restart on. Completely baffling how JW picked this take. Why even have it, it's a completely unnecessary bit of nostalgiapandering making an already too messy credits piece all the more disjointed.

Will this be up after the fact? For Europeans, 2 o'clock at night seems steep to start a 3 hour movie. 

I’ve never seen a drive-in theater anywhere. You guys are living in the 70s!

Eomer will be digitally replaced by Tauriel. 
 
4K sounds like a cereal. 

You're forgetting Female Ghostbusters. It was truly a year of Amber Turds.

What is the LotR "main theme"? 
 

He trains with a sword for 30 minutes and Batman doesn't even use a sword.

It's more apparent how boring Batman Begins is when you watch it right after Batman & Robin.

I'm not aware STID succeeded. It was an overblown, bloated, absolutely nonsensical movie, whose only asset was the only thing JJ Abrams is capable of: being a lazily disguised copy of an old movie that gets some ruckus out of people because of nostalgia, and because it's "updated" with the latest thematic requirements in Hollywood, appealing to the lowest common denominatior. 
 
In other words, it's just like Rise Of Skywalker, only with less aggressive politics and worse music. 

Intentionally ridiculous is better than unintentionally ridiculous. Is that even a question?
 

Intentionally ridiculous is better than unintentionally ridiculous. Is that even a question?
 

Yet, when Batman & Robin is serious in scenes between Bruce Wayne and Alfred, it feels exactly like Batman should. When Bruce Wayne and Alfred interact in Batman v Superman, it's two miserable people that seem to be sick of one another. It's a terrible vision of Batman.

You're really griping without a pause. Could you stop attaching these gigantic photos to every second post. You make it difficult to navigate this page on the computer.

I do think the first score sounds better than Returns. 

That's my point. 

Yes, it struck a wrong chord with critics because it associated blaming rich white people for your own miserable existence with the lunacy that it is. 

Nolan's movies were pretentious and nihilistic, but he still knew in the end that Batman was the good guy and the Joker was the bad guy, regardless of how Millennial audiences interpreted it. The Tod Philips Universe presents Joker as a tragic man that needs attention and is "forced" to murder people, whereas Bruce Wayne is a spoiled brat who deserves what's coming to him. It's a Love Letter to these idiot Gen Z kids living with their parents that can't adapt to society and demand it adapt to them.

According to the original post, this was supposed to be the following:
 
And I'm saying it's not "a score in the style of John Williams", it's a score taking existing themes, statements and moments from existing John Williams scores, and gluing them together in an attempt to fit a picture. Those are two very different things. 
It's like the adapting of Williams' Superman The Movie into the sequels, only less effective. 
 
I'm not criticizing it for not being John Williams, I'm saying don't say things like this because you're doomed to fail. It doesn't "emulate Williams' writing style" very well, and it doesn't "musically unify" it to the first three, either. 
 
The opening titles cue alone is a good example, because it's so busy stitching Williams themes together, that it sounds like an arrangement of blocks rather than a piece of music. There's no rhythm to it, so it fails to grab you, which opening titles should. 
It's also not good storytelling because the scene relies on the mystery of where we are and what's about to happen, and the re-score screams Voldemort all over the place. 
 

I feel like this proves more the point that Williams' original themes didn't fit in, the more the series went on, than it does the opposite. 
I'm certain John Williams could have made a lot of them work, but, well, this isn't John Williams. 
I feel like the project concentrated way too much on forcing one or several designated John Williams themes into any given scene, that don't sit comfortably. 
 
There's so much more to achieving a John Williams type score than pinching his themes and arranging them in ways to fit a picture. I'd be totally taken out of the picture if I heard some of the choices you made. A good part of it also doesn't flow very well. It's like you were so busy making the arrangements work that you neglected if it works as a film score. 
 
I mean, this is rather harsh for what's essentially a work of passion, I just want to add my feelings. 

Don't think I could take that guy's voice for an hour-and-a-half, but I have read something this morning that indicated a major theme of Picard is Jean-Luc being told/learning to *check his privilege*. 

Never mind him busting his balls at Starfleet Academy and working hard to rise through the ranks ... he's white, so it must be privilege that got him where he is. Jesus fucking Christ. 

Not sorry that I'm missing this at all.  

 

Well, he should have hired someone entirely different for this, to rewrite it, because Junkie sucks. 
 
Addendum: no, I haven't heard the score yet, and no, I don't give a crap. 

This is from Alan Moore's graphic novel The Killing Joke, on which we get to see parts of his past. He was a failed comedian with a pregnant wife that ended up falling on acid and losing everything. It's the Joker's most famous origin story, and the movie takes heavy inspiration on that comic.