bruce marshall

Great post... this bit stood out from the composer side of things. It's the photocopy of a photocopy effect. JW, James Horner, Danny Elfman, Jerry etc., all took varying amounts of inspiration from classical composers. The top level quality when it comes to writing for orchestra, but many of those who followed them are, as Marian says, copying the other film composers but don't have quite the skill to write something as good. Much though I like his music a lot of the time, a prime example would be Michael Giacchino. He started doing JW-esque music for videogame scores and then started on movies but this didn't really enable him to expand the range of his writing, indeed I think in many ways it cramped his development as the detail of his earlier work ended up being lost behind all the sound FX. He still writes some great music and I will continue to enjoy his stuff (despite his variable reputation round here) but he's never really evolved as a composer. Interesting contrast to, say, Joel McNeely, who started off writing very closely to JW's style but, while not having a mainstream career in Hollywood, has been able to continue developing as a fine composer with his own style.
 
In answer to the original question though... Thomas Newman and Alexandre Desplat, coupled with those various composers and musicians who've basically written in similar styles, but whose music gets more coverage as they are from a band or the classical crossover charts.

This has to be Williams' most joyful concerto. The question is why didn't Williams ask Jim Self, someone who he calls 
 “one of the greatest instrumentalists of his generation”?

The Ballades! Chopin
 
 

The only extra music that I wanted was the "Boss, the President's been shot" scene.

That's okay, the OST is more than enough.

So after Indy 5, Toby Jones gets his chance to act in a real Spielberg film.

FIRST LOOK AT THE ALIENS FROM 'DISCLOSURE DAY'!

The OST sounds fine.

ANDERTON!!!!!

Shawn Murphy and JW were simply not a good collaboration. Bruce Botnick and JG, Shawn Murphy and JH...perfect. There are some exceptions to the rule, but historically, JW scores aren't recorded or mixed well.

At least the new A.I. sounds good enough for me to focus on the music without being bothered by the sound to the point of distraction.

Perhaps, but the poor sound (from Shawn Murphy's mushy period) has always been a major distraction for me.

I like the OST presentation

It's got some really good highlights for me, and makes an excellent 40 minute or so album, divided between the emotional Sean material, and the action highlights.
 
The parts of the score that do nothing for me are the underscore parts such as the Dr Eddie sequence and the greenhouse. I've tried so many times to find something interesting in those parts and just can't.

There is some awesome work in the deep-bass percussion notes on that album, it shakes the room.  Keep the mastering as is

It's worth watching if you do it with an open mind.

The very first movies that appeared as an appropriate way to bring super hero stories to the screen were Brian Singer's X-Men and Sam Raimi's Spiderman.
Everything including Burton's Batman movies and the Superman flicks I personally count as failed attempts. Not looking at previous scores. These were great.

I think he's between 60/61. Why? Because of this:
 
He was 13 in 1978. 1978 - 13 = 1965.
 
Isn't there a single JWFan older than my father? He's from 1962. The big John Williams Movie of his childhood was actually The Towering Inferno, which he saw in two consecutive sessions at the movie theater. How many of you can say you were introduced to JW thanks to a movie older than Jaws? 

On HOOPLA !
 

Dirk Wickenden, the saxophonist who wrote the (very good) liner notes for Quartet’s expansion of The Russia House, is some kind of born again Christian who blocks people left and right on Facebook (or at least he used to), for things as trivial as liking the Omen scores. Somehow he manages to keep being a Jerry Goldsmith fan, creating an “Official” group on FB even though as far as I understand he didn’t have any special standing with Goldsmith to do so. Gary Kester and other Goldsmith Society veterans created their own group on FB in response.
 
Yavar

Sanguis Bibimus. = The blood we drink.
Corpus Edimus. = The flesh we eat.
Ave Satani! = Hail Satan!
Ave Versus Christus! = Hail the Antichrist!
Tolle Corpus Satani! = Raise the body of Satan!
 
I mean, what's the problem here, guys? 
 

No-one's really dead as long as we remember them. 

Seek out Howard's Goodall's documentary about Bernard Herrman for your education.

The "guilty" ones for that are the directors, who listen to indie music and bands, put on indie playlists on Spotify when they're working on the script, and then it gets impossible for them to separate this kind of music from their movie. So, bye bye traditional film score, hello indie score for mainly guitar, synth and maaaaaaybe some strings.
 
But I guess this trend started to catch on after Her (one of the most overrated movies of the last decade) got a score from two Artic Fire band members who were nominated for the Oscar.

Herrmann?
I would say hardly, since there are many wonderful thematic drama scores since his time. And even in Herrmann, we don't find the minimalism we find today.