Romão

I expect it's a technological remake, with identical content, like with the remastered Monkey Island versions.
Grim is the one game which I'm confident to call art. At the very least, if we can call Hollywood films art (not all of them, but certain ones), then we have to consider it for this game. The way the character, story (drawing influences from folklore and film noir, but bringing them together in its own unique way), visual design, music and storytelling (much more relevant in this respect than it is for film, because with games, telling an actual story is a much more dynamic and flexible process than with films) all work together to create one organic whole is remarkable. And what stays with you when you've finished it isn't the puzzles you've solved, but rather the world and the characters and their experiences.

MG is the equivalent of J. J. Abrams: a fan referencing what he loves but without any spark of genius it would need to create something exceptional.
I get that people WANT to like JOHN CARTER (massive Sci-Fi-Comic spectacle) and i give Giacchino that he does some pretty things along the way (the little no-gravity waltz, for example) but the writing spreads thin pretty fast, simple ostinato stuff covered by huge (read: loud) orchestration, simple harmonization covered by huge (read: loud) orchestration and so on. You don't need to be a genius to write this stuff but nowadays, just because film music by and large is even worse, people love that it sounds like a Williams/Goldsmith/Horner/Silvestri score if you hide it behind the movie. On cd it's an entirely different matter.

The Search for the Blue Fairy, Stored Memories and the Mecca World are among my all time favorite pieces of music. And that melancholic Piano theme, which is totally absent from the OST (which I'm not sure what it represents) is JW's greatest unreleased theme

In terms of Cinematography, it sill is one my favorite movies of all time

In terms of Cinematography, it sill is one my favorite movies of all time

Agreed on all counts, Publicist

THE LIVING DAYLIGHTS - John Barry
Still the most satisfying Barry/Bond on an album (others have better songs but the incidental score often is not that great). It's romantic Barry galore - even cues like "Mujahadin and Opium" have that gloomy romantic feel - with several strong themes playing off each other. Obviously, Barry presented several song-suitable thematic ideas to the producers and when most of them were rejected he decided 'to hell with 'em' and used them anyway. So we have an action theme that's a song (The Pretenders' "Where has everybody Gone"), a song love theme (The Pretender's "If there was a Man") that seems to have been Barry's favourite and a-ha's "Living Daylights" (co-written with Barry) that is used sparingly in the underscore, too. To go with the times there is a rather humdrum 80's beat behind the action scenes, but if you survived Arnold's nerve-wracking basement DJ techno assaults that shouldn't bother you. Top all that with even more sweeping motivic ideas ('The Sniper was a Woman'/'Airbase Jailbreak') in the usual high Barry style (it's hardly new but just so classy) and you have a hell of an expanded EMI album which is just fine with it's 68 minutes.

"Anderton's Great Escape" aside, it's an album that has really grown on me. I think the scoring from the opening scenes up through Howard's arrest is absolutely first-rate.

I love the quote of Jabba's theme (AKA Jabba More Sinister Insert) with the flanging Moog bass.

@1:39

It's wonderfully atmospheric, I love it

The theme is predictable in a very bad way. Generic is exactly the adjective I'd use. There's absolutely no idiosyncrasy at all. It could be the theme for dozens of films and characters. It actually reminds a lot of this

But at least that one is suposed to be making fun precisely at this sort of theme

Whatever it is, I'm sure it will be most welcome. I wasn't exactly sighing for a an expanded Rosewood, and what a treasure chest that turned out to be

I love everything about the score except Varinia's theme Go figure
Those shots of the Roman army marching and doing battle formations in plain of sight of the slave army are alone worth watching the movie

I love everything about the score except Varinia's theme Go figure
Those shots of the Roman army marching and doing battle formations in plain of sight of the slave army are alone worth watching the movie

Very interesting to hear about JW breaking his usual "rule" for this movie and reading the script before taking the assignment. It looks like he pursued the project just out of his own instinct for good dramatic material to write interesting music.
Sorry, on a purely musical level there is NO comparison between the two works. And it's not just about "technical" knowledge vs. improv, nor a simple matter of taste. Williams is really the last of a disappearing breed, i.e. composers who apply their own dramatic instinct to the movie narrative to produce a musically coherent piece of work that makes sense in itself, both within and outside the film's borders. Price's work for Gravity has its own musical sense, but it works mainly (if not only) on a pure superficial level, i.e. heightening tension and anxiety with some (clever) musical tricks, because that's what the composer was asked to do by the director, of course. Within the movie, the music has much of its own sense, but when listened outside, sorry, it just doesn't stand up. And heard live in concert setting, like these clips show, the comparison it's even clearer. Gravity sounds like good, effective film music, with nods and steals from a variety of sources (the huge climactic cluster crescendo sounds like a rip-off of Beatles' A Day in The Life), while The Book Thief is more akin to a newly-discovered suite composed by Brahms, or even an unpublished Bernard Herrmann's concert piece.

This post of yours made me want to discover this score. It's fascinating music. I'm now on my 3rd listen in a row and it still intrigues me greatly

I saw the movie yesterday, with Miguel, and I found it to be a moving, tastefully done little story. Very well acted and shot, with impecable production design. It's not groundbreaking by any means, and some of the emotional scenes fall flat, but I always felt it was earnest and with its heart in the right place. Williams score works wonderfully.
The death theme worked particularly well with the narration

Neptune's Bar from Cinderella Liberty

TV Reveals from Close Encounters

Neptune's Bar from Cinderella Liberty

Nah, George Clooney's character was a crap caricature and the sledgehammer visual symbolism was cheesy as hell: *circus announcer* "See Sandra as a baby in the womb of space! Gasp as Sandra crawls out of the ocean onto land like the first life did millions of years ago!"
Clever or subtle it was not. The film would have been stronger if it just stuck to the visceral emersion.
I didn't need IMAX 3D to cringe at that stuff.

Any movie by Mike Leigh makes me instantly curious

It's like Scott ignored the movie all together and just scored chapters of the book. The score is so much "grander" than the movie

The whole problem with everyone who throws that quote around is that it wasn't ever meant as a criticism of Schindler's List. According to Jan Harlan (edit: Frederic Raphael, actually, my mistake) who it should be noted, is the actual source of the quote -- he was paraphrasing a private conversation, Kubrick never made the statement publicly -- Kubrick was frustrated about his Aryan Papers film and became convinced that a movie that encompassed the scope and tragedy of the Holocaust could never be made. When Raphael brought up Schindler's List, Kubrick's argument was that it wasn't about the Holocaust, but about success, and only gave relative glimpses of the horror in order to set up Schindler's story. His point was that even Schindler's List had to approach the Holocaust from a different, more specific angle, and likely no film could ever truly confront the subject, and that realization led Kubrick to abandoning Aryan Papers. But people like Gilliam have twisted it since then to mean that Kubrick thought Spielberg had somehow failed as a responsible artist and had made a gooey movie based on tragedy and laced it up with a bow made out of thousand dollar bills.

Yeah, by not watching these Hobbit movies