Gruesome Son of a Bitch

The prequel trilogy looks terrible.

Even before we can attempt to get anything good out of this, Lucas needs to stay the hell away or we'll get his influence ruining this just like it contributed to ruining Indiana Jones and the Kingdom of the Crystal Skull. The most he should influence this:
1. John Williams does the music
2. No lens flares, in fact dump your DP altogether
3. No computer generated cartoons everywhere
4. Nothing from the prequels
5. Raping Han Solo and all characters from Star Wars, Empire and Jedi is strictly forbidden
6. No Shia or any of these shitty popular modern actors
7. No awful storylines that don't make any sense and/or plot holes everywhere
That will never happen, so I'm going to go ahead and predict we're screwed, but I'd be ecstatic to be wrong

So Giacchino will do this, meaning we won't get a new JW score, the entire movie will be lens flares and it will likely go against all the established canon.
It could be good, but who cares if there's no John Williams score. Seriously.

John Debney can't really write good themes. except Seaquest DSV

You know, I think the guys who wrote Die Another Day really nailed the first 30-40 minutes of that movie. I'll have to review it to be sure, but I remember it being pretty good until he meets Halle Berry.
As for the villain's schemes to kill M...well, I was reminded of Joker in The Dark Knight, where it seemed that everything he did in that movie was surrounded by coincidence. What the hell would have happened at Bruce Wayne's party if it didn't turn out Bruce Wayne was Batman? What if Joker never got a hold of his girlfriend and threw, in essence, the both of them out of the window? He even gets deliberately captured with a ludicrous escape plan. It basically worked in that movie because the Joker was so cool and we were actually witnessing a pretty great interpretation of a classic character of pop culture not being raped like everything else in modern films. Quite the opposite, actually.
Okay, I'm focusing too much on other movies, but Skyfall is a movie that on the surface appears to be another "serious" and/or "gritty" Bond flick. However, there are so many points throughout where you have to basically turn off your brain and accept whatever's occurring as-is (like in, say, Nolan films). No questions asked. There comes a point where you stop analyzing it and just go along for the ride. You know, like Indy, Star Wars or, say, the older Bond films that did the thinking for you in between all the scenes that made the character and his adventures completely cool and iconic. As for whether the film delivered in that regard? Well, I was entertained. There were several moments where I just had no clue what the hell Bond was doing, but he looked cool doing it. Whatever he was doing also advanced the plot somewhere. Means to an end.
Perhaps I'm something of a simpleton, but for me, the Bond flicks have never really been about the plot (which usually amounts to whatever the villain is doing). It's more the character and all the things he does, the people he encounters, neat action scenes, awesome musical score and babes. The villains are usually inconsequential, unless the performance by whoever portrays them is really great. I mean, really, it's usually the same damn thing in almost every Bond movie. Villain with a plan, Bond investigates, kills guys, bangs women, car chase and Bond eventually defeats the villain. Always. So fuck the villain. I liked the focus on Bond himself, which is probably why I liked Skyfall.
Plus, it handled the hero getting older thing really well, unlike a certain sequel from another major franchise.

Congo is a great guilty pleasure.
"My name is Monro Kelly, your great white hunter on this trip....though i happen to be black."

Bit rich of a Pops orchestra to act all high and mighty anyway. They're not exactly playing in the Boston Symphony Orchestra, after all.

Steven Spielberg and John Williams.

Star Trek > hobbit/lotr

Well then, it is settled!
I should ask Jason to change my name to "BLUME STRUZAN"

Fair enough. Han does say "I've outrun Imperial starships. Not the local bulk cruisers mind you, I'm talking about the big Corellian ships now" but these Corellian ships are not shown in Star Wars. We never see the ships that Han mentions, but it's doubtful that the ships we do see are instead the "local bulk cruisers." The Imperial-I clas Star Destroyers seen in Star Wars and the Imperial-II Star Destroyers seen in TESB and ROTJ are made by Kuat Drive Yards, which is not located at Corellia; Corellian Engineering Corporation built fast ships, like the Millennium Falcon and her sister transport ships, but not the Star Destroyers that we see in the movies. The other classes of ships that the Empire uses are added in the expanded universe.
The wedge-shaped Star Destroyers seen in Star Wars are not named until The Empire Strikes Back when Derek 'Hobbie' Klivian asks "Two fighters against a Star Destroyer?" when the Rebels try to flee Hoth. Later Threepio begins to declare the odds of successfully surviving an attack on Imperial Star Destroyer before being told to shut up. Curiously, when fleeing Bespin, Leia points to Vader's Super Star Destroyer in The Empire Strikes Back but says only "star destroyer." This ship is never named as Executor in either it or its sequel, and even Vader only calls it his "star destroyer" in the added scene in the Special Edition.
And then, of course, Lando Calrissian and Admiral Ackbar explicitly say "star destroyers" when they talk about engaging them at point blank to evade the Death Star II's fire in Return of the Jedi. Since this term is used in the plural, it's clear that they mean the "normal" sized vessels instead of Vader's enormous flagship. Ackbar properly names this when he gives the order "Concentrate all fire on that Super Star Destroyer!"
So the ship's term in Star Wars is retconned in based on the sequels. Same as Tatooine. It seems that half of Star Wars takes place on that planet, but it is not spoken until The Empire Strikes Back and seen in ROTJ's title crawl. Not counting the prequels and novelizations, of course.

I've been delivering to a street that reminds me of the one that they take off from at the end of the chase. You know, southern California suburbia with the big trees lining the sides of the road.
I think the Freelings' house is in a gated community.

Well I just did. Excuse me, gonna go swing into the mine cart hanging from the rope I dangled from upstairs.

I just found these 2 Fan filming location documentaries which seem very interesting indeed!
(edit: Just watched them both. The first one is better assembled)

Any chance this release will fix the clipping issues that the last release suffered from?

Amazing, considering the result.

Jedi is stronger than the prequels. One thing I love about it is the reprisal of themes introduced throughout the trilogy. The prequels did NOT do this. You got the force theme, Imperial March, the Emperor and Yoda's themes. But those are themes that have existed since the originals. TPM's Anakin and AOTC's Love were the only major recurring themes introduced in the prequels and they took a back seat in the subsequent scores. Jedi has thematic overload, new and old. It's loaded with the typical JW whimsy, romance, drama and action of the era. It may be over-scored, but **** it.
So many spectacular moments that I feel are unmatched by the prequels. The start of The Droids are Captured is more dramatic than anything I've heard in those. Vader's theme at the end of Faking the Code is surely one of JW's coolest moments ever. Brother and Sister is some of his most dreamy enchanting stuff. Yoda's Death, The Emperor Confronts Luke, first appearance of the Ewok theme, the 30 minutes or so of action and resolution. The Final Duel, which Williams busts out of nowhere, the Emperor's theme during his climactic moments, Vader's eerie death...this is great Williams music.
The prequels are generally good, but comparatively forgettable.

you've never experienced a great true blockbuster then? In Jaws the audience exploded back in 1975, figuratively of course. In E.T. the audience stood and appauled. But that was at a sneak preview. Star Wars, people were cheering...to this day the single greatest movie going experience of my life. Great films often elicit great reaction from a full theatre. Schindler's List had women screaming during the shower scene before they knew how it would actually end instead of the way the thought it would end.

I only stay for the credits if it's a Star Wars movie or if I know that Marvel or POTC tacked something on after the end credits.
Weird. I know it's weird.

I need to collect myself. Alright. It's you and I. No way out. Get your shit together. Think Luke, Han and Chewie, snowspeeders vs. AT-ATs, the cantina, carbon freeze, docking bay 94, "you may fire fwen reday", that big orchestral flourish when the droids are in the escape pod...Okay? Okay. Let's go.

When I saw the title of the thread I thought this was for real lol

I think Thomas Snoozeman is on there by association with some really good films...not because of any inherent talent that even puts him close to the likes of John Williams, Goldsmith, or Morricone even.