TheUlyssesian

I would judge a score for a musical by the arrangements of the instrumental portions as well as how much new material not based on song melodies is supplied for the score. On that criterion, Aladdin is most interesting to me.

Wow no one's seen Jeanne Dielman. It is a total total total total total masterpiece and a worthy pick to be the greatest film ever made. I mean something like Citizen Kane will also be a better more all-encompassing choice. But Jeanne Dielman is no slouch. The film has the most uncanny of all effects. You can never truly live the life of someone else. Never. You can empathize. You can imagine. But yet, you cannot really ever see the eyes through someone's eyeballs. I would imagine most of here are men. This movie for the first time showed me the world through a woman's eyes. And it is an eye-opening, mind-opening, horizon-shattering perspective. It is also enormously accomplished in formal terms. Maybe not for everyone, but a peerless film. Its reputation has been rising steadily. It's one of the most singular works of art ever made.

You see a flash of a single tit of Margot's that's in close-up so I think might have been a double. All the nudity is completely in the background by extras. Nothing related to the actual characters or storyline.

I didn't find it all that graphic to be honest. It's tamer than advertised. Maybe not in Hollywood movies anywhere but you see these thigns and much more on TV all the time these days. So I did not find it to be graphic.

Not many of either. I have kindaaaaa given up on physical media. I now purchase things that basically cannot be bought digitally or streamed anywhere.

time stamp?

I've seen the movie too and this is legitimately Williams' sparest score since probably the 60s. It's literally 4 or 5 times in the movie that he comes in over 150 mins. And that's it. He does get to expand over the end credits. I'll say this - this is the logical end point of Spielberg' filmmaking style as it has evolved over the past decade or so. When doing straight dramas - Spielberg is increasingly very restrained, with several talky dialog heavy scenes and not much in the way of action. Think Lincoln, think Bridge of Spies. The way the film is made - it doesn't allow for much score to be honest. I will even say... the score is so sparse I wonder if it meets even the 35% requirement of all the music in the film. It probably does. But just saying, it is really really sparse. I like it plenty still. It's beautifully crafted music. But Williams is winning exactly zero awards for this. So no one should get their hopes up. Even nominations will be touch and go - it's a really minor work in that regard.

The score is magnificent. Just saw the film. It truly shines. The middle eastern sounding main theme in killer. This score has genuine sweep and scope and narrative storytelling. Very very good work! One of the best of the year.

A very attractive melody from Rachel Portman that is I believe only used for this one cue - it truly does convey the sense of time passing. And of course this classic, indelible cue from Herrmann about the passage of time in Citizen Kane.

Underrated 1. The Reivers 2. Tintin 3. Sabrina 4. Hook 5. Far And Away 6. Home Alone 7. Harry Potter and the Sorcerer's Stone 8. The Post 9. The Cowboys 10. The Fabelmans

I’ve seen the film - some impressions about the score

It's alright. I think it is an example of "suite scoring". Meaning, Morricone composed some suites and submitted. And then the editor and film-maker applied it to the their finished film.

I think Carol might have won. TFA score had unanimous acclaim but I would say in film score circles. And sequel scores don't typically win. But that's a moot point. I think The Hateful Eight oscar was sewn up pretty decisively. Even though that's a stunt oscar.

If nominated Williams would be in his best position to win since Memoirs. THOUGH - what's holding it back is the score itself. Had it been a big sweeping major score - I would say take it to the bank Williams is winning no. 6. But the modesty of the score has created an opening. And I think Desplat is the one who is going to swoop in.

I actually think La La Land is extremely millennial.