Romão

It's easily the best Marvel movie, in my view

I love that cover, it's a beautiful photograph

I love that cover, it's a beautiful photograph

This one

I think I get what you mean now.
You could draw a comparison to the atonal moments in both JAWS and JAWS II. The former has a dryer aesthetic, less doublings (instruments playing the same line, thickening it), a smaller orchestra, and almost no electronics. The later is wetter, has more doublings, a larger orchestra and more electronics. A watercolour vs. an oil painting.
The Dune Sea of Tatooine, 1:45-2:00 in Landspeeder Search/Attack of the Sand People, 0:47 in Tales of a Jedi Knight, 0:00-29 in The Millennium Falcon/Imperial Cruiser Pursuit and the Death Star Motif are all polytonal
0:38-1:17, 1:28-1:45 and 2:09-12 in Landspeeder Search/Attack of the Sand People, 2:16 in Burning Homestead, 1:06 and 1:30 in Mos Eisley Spaceport are atonal.
3:35 in The Millennium Falcon/Imperial Cruiser Pursuit is somewhat both.

I'm sick and tired of reading about how any project is a potentially boring drama score. You'll get your fanfares and action music (which I also love) in the end of year. Thank God for variety in Williams output. Most of my favorite JW scores are drama scores

I quite like all three scores, but Aliens is clearly the least interesting of the bunch, IMHO

I'm sick and tired of reading about how any project is a potentially boring drama score. You'll get your fanfares and action music (which I also love) in the end of year. Thank God for variety in Williams output. Most of my favorite JW scores are drama scores

That's not the point. The point is that the quality of a score is not necessarily tied to genre of the movie.
Nor is quality necessarily tied to enjoyability

I'm sick and tired of reading about how any project is a potentially boring drama score. You'll get your fanfares and action music (which I also love) in the end of year. Thank God for variety in Williams output. Most of my favorite JW scores are drama scores

I'm sick and tired of reading about how any project is a potentially boring drama score. You'll get your fanfares and action music (which I also love) in the end of year. Thank God for variety in Williams output. Most of my favorite JW scores are drama scores

Come as may, the Intersection scene still is an incredibly gripping piece of movie making

I absolutely hate the 2005 version. I'm not really big fan of the other two, but 2005 version is clearly the worst, in my book

I'm very fond of this Nautilus design, which kinda merges the best of both worlds (the book description and Goff's brilliant design). I'm gonna make a LEGO model out of it one of these days

I can barely tell it apart from the poster of the first movie

The first one is a real head scratcher, as it is an absolutely sublime theme. In what track in the OST of the Patriot can I hear Tavington's motif?

The 90's are probably my favorite JW decade, and mainly due to scores like Nixon, Sleepers and Seven Years in Tibet

THE CONVERSATION - David Shire
 
A long journey down to paranoia-land. Love Shire's fluid handling of the piano, it's a marvel of conflicted feelings, often starting harmonically upbeat or at least thrusting forward in a way that doesn't sound unpleasant, just to be interrupted by a singular toxic tone that sours the mood before gradually tightening its grip into full-blown musical paranoia. And it works wonders for Coppola's movie. ...unsettling how it doesn't betray its age, 1973, 2014, who could tell (smartasses move forward now)? 

We agree on the best and second best scores of the year, GP

Chiyo's theme is a wonder of a theme. Not the most obvious of themes, but a true keeper

It's my favorite Bond movie, my favorite Bond score and it was actually shot in my country

Schindler's List. I love all three, but Schindler's List reasonates with me the most (Remembrances, what a theme).
Are people here really saying E.T, Superman and Jaws are under appreciated our underrated?
Those are among the scores that receive the highest amount of praise and discussion, both here and in the outside world.
I'd call under appreciated or underrated something like Sleepers, Nixon, Images, Seven Years in Tibet, etc, and so many great scores that weren't fortunate enought to be attached to a mega popular blockbuster

Hey, that's pretty cool