Romão

I adore the Original Trilogy, I kinda have a soft spot for prequels, despite their ineptitude. I enjoyed TFA up until Han Solo shows up (the movie takes an absolute nose dive at that point), I like most of TLJ quite a bit. 
 
And that's it. Everything else I either dislike or totally ignore
 
But it's always been mostly about JW's music and the movies were simply the backdrop that justified its existence. There's no point to any of it without JW's involvement.

I dislike the game itself immensely but was hoping for an official soundtrack release.
 
Yet an actual release was not on my bingo card:
 
https://www.qobuz.com/nz-en/album/return-to-monkey-island-michael-land-peter-mcconnell-clint-bajakian/yner99r4v2o2b

Such a great score. "Slow and beautiful", as is Lynch's mantra. I was kinda bored with it in my formative years, but dig it now. Also love how the trademark Toto chord changes sometimes seep through, even behind father Marty's (and Allyn Ferguson's) lush orchestrations. 

I simply cannot respect a filmmaker that treats JW's efforts in this manner.

Batman Forever might no be the quintessential Batman score, due to the nature of the movie it was written for, but I still find it to be the best music ever written for Batman 

Well Walker and her accomplices, Williams and Goldenthal want a word!
 
but that goes to show how well we had it sometimes, at least in regards to Batman and Superman

This is the piece you're referring to, and it is indeed by Greenwood:
 
 
Great score. Incredible film. probably my favorite PTA after There Will Be Blood

This is the piece you're referring to, and it is indeed by Greenwood:
 
 
Great score. Incredible film. probably my favorite PTA after There Will Be Blood

Delayed to March 15, 2024
 
https://variety.com/2023/film/news/dune-2-delayed-2024-strikes-1235703991/

Delayed to March 15, 2024
 
https://variety.com/2023/film/news/dune-2-delayed-2024-strikes-1235703991/

Delayed to March 15, 2024
 
https://variety.com/2023/film/news/dune-2-delayed-2024-strikes-1235703991/

Delayed to March 15, 2024
 
https://variety.com/2023/film/news/dune-2-delayed-2024-strikes-1235703991/

i enjoy the misfortune of megacorps that actively make the world of movies worse, and i hope (perhaps pointlessly) that a string of large enough failures, strikes, and even regulations changes things enough that we can get more interesting or daring movies, perhaps even scores

Not only does Cooper look like Lenny (specially when older), but he also seems to capture his voice quite well.
 
I'm definitely intrigued by this

Christopher Nolan is a lot less pretentious than people assume he is.  He's just a big showman like Cecil DeMille 

"first abandon the indy magic, then sprinkle some indy-magic on top"
 
i don't think they ever needed Marion, or to invent a son, or to have a cameo of Sallah, or to bring back Marion again, or to kill Mutt. You need maybe, perhaps, at most Ke Huy Quan tops, with no explanation. The rest is just going in circles and making "canon" and chronologies and family dramas where there ought to not be.

I saw a post by him saying that they recorded all over the world, trying to record in all the locations where they were filming. So surely the total number of musicians comes from all of these sessions added together. Part of the score was recorded at Vienna's Synchron Stage (as many modern blockbuster scores are).
 
In his post, Balfe claims that recording in the cities of the actual filming locations lends a flair of authenticity and locality to the music. There's certainly something to be said for a composer being part of the pre-production and production process (if they're the kind of composer who likes that sort of thing, at least). But I doubt that the streamlined sight-reading style of a modern film scoring session leaves much room for local flair (especially if little to none was written into the score to begin with).
 
For what it's worth, I thought the score to MI7 was a hundred times better than that for MI6. Meaning that it actually noticeably supported the film, most of it seemed to do *something* (rather than just scream trailer music at 11 non-stop), and there's probably three or four bits in there that might even be musically interesting. Which still doesn't leave enough for me to be even marginally interested in the album, or to remain a glimmer of an interested in modern blockbuster film music. But when it stayed away from Schifrin's material (where the clash with the score's MV stylings is just too grating), it actually seemed appropriate for the film. And I guess that's something.
 
That sad truth seems to be that the time where a Hollywood blockbuster had room (stylistically and marketing-wise) for properly interesting *music* really is completely gone.

I already jotted down my initial gripes with the movie here, but have had time to reflect some more about why the movie didn’t work for me.
 
The problem with DoD is that the story isn’t organic. It’s just a bunch of bullshit. And I don’t mean the dial itself - that could have completely worked in an Indy movie.
 
It’s already been pointed out that Spielberg’s guiding hand is sorely missed and I can only agree. It “feels” wrong, there’s something missing.
 
I see it as the failure of the director who maybe wasn’t strong enough to push a singular vision. A stronger director wouldn’t have gotten “lost”.
 
A key word for me of what feels wrong is organic. Nothing feels or comes natural. I’m guessing it is the accumulation of a million tiny annoying things/moments leading up to a climax it doesn’t know how to handle. The script is inconsistent and story beats are non consequential to the story.

First gripe, that has been mentioned many times before, but I just have to chime in:
Why the hell did they have to kill off Mutt? It’s a “natural order” in society that the son takes over the father’s legacy, and his (off screen) death feels fake. Of course he could’ve bowed out, but then give his character some meaning for God’s sake. The story limps on in an artificial and non-engaging way, which I guess comes from the creators second guessing them selves (how do we keep continuity without having Mutt appear on screen?) and studio notes of “obligatory” story beats (a strong female character seems to be have one of them).
 
The script itself was poor and inconsistent:
One moment Indy’s old and frail - the next he’s jumping around like there's no tomorrow. Which is it? Why did Helena try to kill him by closing the door on him when they were chase led by the goons? What was up with that pointless chase scene with Helena’s boyfriend, that had exactly zero impact on the plot? Is it the best option to create a strong female character to have her scream at Indy “I’m a strong, beautiful, independent woman”? Why end the movie with Helena knocking out Indy? Really??? Is that the best you could think of? Indy’s and Marion’s reconciliation feels completely too hasty handled and thereby fake. It’s probably hard to write a movie for a franchise of Indy’s stature, so Mangold had no easy task. I’m guessing there are a lot of people to please and a lot of boxes to check. A stronger director might have been able to push through. But, by the heavens, if a bad movie gets bad reviews it deserves it.

It's an uber-lightweight version of all those things
 
I like it in parts, but it does still feel like a clumsy collection of suggestions rather than score with a compelling identity, especially given the material it's working with.
 
Although Trinity mostly plays like a really poor man's Shaker Loops, the all-too-brief musically adventurous moments tease a ballsier score that could have been...
 
 
Anyway, I'd rather listen to the Oppenheimer opera:
 
 
 

I've gone on record many times to declare my deep love of SLEEPERS. It contains probably the darkest "real life" scoring moment in his career, and is really the first time we hear Williams -- at least marginally -- approach a more modern aesthetic, down to the drum kits in the football game. And yes -- it certainly foreshadows other "modern" elements in scores like A.I. and MINORITY REPORT.

As far as I know, it would
Actors can't even talk about projects done decades ago if by any chance they do some talk show appearance 

Easily the best version of Gotham ever put on screen. The scope was a bit limited by the available technology, but the concept has never been surpassed. The concept art alone conveys such an incredible atmosphere. It's like an absolutely gorgeous ugliness:
 

 

 

 
 
But what I really loved was that abomination of a cathedral, vertical like a skyscraper, ugly and unpractical but still strangely alluring:
 

 
Gotham felt like a place where too many conflicting architectural mindsets coalesced into a weird, incoherent mess that still managed to remain totally unique. In this day and age, they should just take these concepts and fully realize them on screen with what modern technology allows

Raiders has a superior ending.
 
although... they did cut down the climatic cue... at the worst possible point... it drives me nuts.

So this a quick summary of Indy's and Marion's relationship:
 
They get together when she was still underage. They break up some time after that. They get back together in Raiders. They break up some time after that. They get back together and marry in KOTCS. They break up some time after that. They get back together in DOD. Chances are, they'll break up some time after that. Isn't this taking it s bit too far in a feel-good, adventure series? And they always break up off screen and get back together on screen 

So this a quick summary of Indy's and Marion's relationship:
 
They get together when she was still underage. They break up some time after that. They get back together in Raiders. They break up some time after that. They get back together and marry in KOTCS. They break up some time after that. They get back together in DOD. Chances are, they'll break up some time after that. Isn't this taking it s bit too far in a feel-good, adventure series? And they always break up off screen and get back together on screen