Gnome in Plaid

To me, the issue of the film is more complicated. The launching-off point of the film is a pair of assasination attempts on Padme: it both sets Obi-Wan on a journey to investigate the identity of her attacker, and sets Anakin to protect her, during which their “romance” blossoms.
 
However, after those two plot-lines are set into motion, NO FURTHER ASSASINATION ATTEMPTS ARE MADE ON PADME’s LIFE, which I find maddening.
 
It both completely saps the tension from under the romantic scenes, and the urgency from Obi-Wan’s investigation, as well as losing the tissue that connects these two plot-lines: when Lucas cuts between them, it feels like he’s cutting between two different films.
 
Adding at least one more assasination attempt would have added so much tension to this film! How come no-one thought of that?!
 
My second issue has to do with the way the characters treat each other: not just Anakin being seriously creepy towards Padme, but also Obi-Wan being kind of an overly-strict dick towards his student, which is to say nothing of Yoda and whatever character L. Jackson is playing.
 
I also don’t particularly care for the action. I don’t mind that the Jedi fighting style is dynamic (like it was in The Phantom Menace) and I don’t mind them surviving some implausible feats without physical harm, but when they leap the height of skyscrapers and land without a scratch on ‘em it stretches credulity too much for me. The action also just isn’t spread out through the picture.
 
There is also the issue involving the introduction of Dooku, which I regard as utterly ineffective. He’s basically mentioned in the opening crawl (itself no less boring that that of the previous film), and upon the first assasination attempt his name is brought up and than immediately dismissed, only for the suspicion to be proven true at the midpoint.
 
And lastly, there’s Lucas’ directing: not just of the actors, but also of the camera: really, all his Star Wars aren’t something to look twice at with regards to camerawork and lighting.

Recently got my first scoring gig for an Indie WWII game on steam called Warfare 1944 (Not to be mistaken for the flashgame). It's got a bit of williams, korngold, and some michael kamen style mixed in.
 
I'm working on some more tracks but this is the main theme
 

The Grinch Danny Elfman
A quite fun score.  Refreshing, even.  Any woodwind based material is very welcome nowadays.  Nice balance between energetic "cartoony" moments and softer material.  Pretty good all round.
 
James Horner: The Classics James Horner
Solid album with some engaging performances.  Horner's melodic sense shines through here.  Willow's Theme was a highlight for me.
 
Revenge Of The Sith by John Williams
A classic score.  Dark, rather broody at times, quite operatic.  John put a lot of skill on the table.  The orchestrations are remarkable, love some of the little surprising details and turns the music takes.  The best of the Prequel scores for my money.
 
The Grand Budapest Hotel by Alexandre Desplat 
The instrumental color and overall exotic quirkiness of the score got my attention, but failed to keep it.  Maybe it's just me, but it all became very repetitive over time.  Short cues did not help either.  One of these scores that seems to work better within the movie.  
 
Denace The Menace by Jerry Goldsmith
Nice little score.  Particularly interesting application of harmonica.  Themes were rather pleasant too, especially that one that came in most often on flute.

My latest masterpiece.
 
Digital_Alarm_Clock_Sonata_for_Trumpets.flac

Loving Vincent, by Clint Mansell 
 
**** and 1/2 out of *****

Williams says he has no plans to retire. “I don’t think you can retire from writing,” he says. “I feel very lucky, and the work that I do doesn’t depend on much. If your vision’s still good, and your hands — I have no arthritis in my hands and I play the piano very easily — I don’t think there’s any reason to deprive oneself of the fun of working. Music is so rewarding.”
Asked how it feels to have done this job for 60 years, the composer responds with a laugh: “It feels like a good start.”
 
Source: https://variety.com/2018/music/awards/john-williams-could-set-oscar-record-1202658996/
 
This “rumor” is complete BS. No legitimacy at all.

This thread is making me want to go listen to this.
 

It's a tie for me among the AOTC statement, "Approaching the Death Star" from ROTJ, and this magnificent beauty:
 

The really big regal one which underscores the awesome "we shall double our efforts!" scene at the beginning of Return of the Jedi. It's also pure Nazi imperialism... the tone and assurance of music there almost seems to announce itself.

Never heard this, will i order it together with Proud? 

Societal inertia, Lincoln
Addiction, Requiem for a Dream

Now I'm just waiting for the kick-ass replacement score by James Newton Howard.

Now I'm just waiting for the kick-ass replacement score by James Newton Howard.

In a couple years it's just going to be Hans monologuing.

In a couple years it's just going to be Hans monologuing.

In a couple years it's just going to be Hans monologuing.

I could've gone more!

Including newly written alternative scores by Williams for the other 5 Harry Potter films!

"Narration by Christopher Lee"

I finally got around to seeing The Catcher Was a Spy, and god damn...  Not only is it a phenomenal film (apparently reviewers didn't understand it's a character study, not a spy thriller), but it's probably Shore's best work since Edge of Darkness.  He finds a wonderful balance between the touching sensitivity of his recent concert work and the unbridled tension of his 90s thriller scores.  The end credits said there's an album available on Howe Records, but I can't find anything about it on his site.  It would certainly be a very nice holiday surprise for it to get released.

One of my favorites is the exact opposite of a "big finish."  It's small, and quiet, and ominous, and perfect.
 

Now I'm just waiting for the kick-ass replacement score by James Newton Howard.

I am really pro electronic artists venturing over into filmscoreland, but in sharp contrast to, i. e., Daft Punk, XL's contributions amount by and large to brutish noise or third-rate orchestral writing for which he seems to have no feeling, whatsoever. I doubt even given the opportunity much would come of it.