Arpy

Anyone know where to buy quality CD jewel cases? I have several CDs that have cracks that I haven't had the heart to replace because I have a silly irrational notion in my head that the original case should be kept. Yet now that I'm beginning to look after my collection and display it, I need new cases!

Just rewatched JP3 recently and thought Davis comes the closest to matching JW's style. The family theme in that score is one of my favourites. ... Ordered TLW before it goes out of stock again! I've listened to this score religiously since the 2016 expansion, so good for going on walks or doing anything physical with all the rhythmic percussion and action cues!?

When is this back in stock? I missed out due to financial woes 😰

Average Netflix/streaming series are somehow able to have wide commercial releases in physical media formats, but Indiana Fucking Jones struggles to produce and sustain an initial release? It doesn't make sense. I was lucky to order one before it sold out last time, but the packaging they shipped it in did not protect it from cracking on the front of the case 😡

Escape from the City from War of the World's must've been a big temp track, it was so blatant.

Tuk Tuk in Tangiers is incredible - definitely in the vein of Follow Me and the Falcon from The Force Awakens. The way Williams has used Helena's Theme is straight up pure bliss.

Definitely - there's a moment in the beginning (of the full cue) where there's this building momentum and then this declaratory statement of the Indy theme comes swinging in and it always leaves me awestruck how he shifts between all these dramatic modes going from complexity to complexity.

I don't know about this music - every minute it's a game of 'Ooh that sounds like this Williams cue from this score'. It irks me too much to be able to enjoy it. Powell and Giacchino have adapted their styles to Williams work without emulating so completely.

This is fucking brilliant news! Gold is one of the best composers for television - I can't describe how brilliant it was to hear the evolution of the music from 2005 to 2017 as the budget increased, so too did Gold's access to orchestrate and record the scores with a full symphony orchestra. By 2010 the scores had the size and opulence of any big Hollywood film score.

Inoffensive, ephemeral film that didn't take any creative risks whatsoever. Typical Tyler score that favours loudness over all else. Kinda what I expected when I heard this film was released.

Around the time of the release of the Deathly Hallows book, my friend and I had a discussion about whether or not they would consider doing a reboot of the films sometime in the future. His response was that a reboot was inevitable, but only after enough time had passed after the films. Do I think enough time has passed after the films? Not really. Then we get to the question of why make a reboot in the first place? Some might consider the fidelity of the films lacking when it comes to the books, and fair enough, there are some important chunks missing from the films that ought to have been represented on the big screen. The most important question, however. that can't be answered until we see this series, is what does this reboot do differently that justifies it's existence? The shadow of the films will loom large over this reboot and that's what's going to be very difficult for the filmmakers to get out from under if they wish to have a successful show that produces its own legacy...

Yep, felt disjointed from the Mando/Katan story. Music this time was a bit hit and miss, but I loved the little March of the Resistance camel.

You know what, Williams has nothing left to prove, but for fuck sake can't they just give him this one last one.

Fuck sake, what a load of shit.

I thought the CG on the giant monster was particularly good, better than a lot of other CG creations in films these days. Better than Jurassic World Dominions' dinosaurs...

That is so egregious, I don't know how they even let that through...

How have we come to 2023, with advancements made in CGI, and any studio thinks 'You know what, this looks acceptable to release'. It looks awful. All of the intrigue and power of Burton's gothic Batman is stripped bare by lazy CG. It honestly doesn't evoke any sense of nostalgia and instead makes me feel sad that THIS is how Keaton chooses to return...

Decomposition

Urgh. Indy on the horse looks like CG trash.

Someone managed to record me ageing before that ever happens and sped the footage up, it's nasty:

TFA all the way! I hate to be the contrarian here, but it's also probably the most cohesive, developed and concise film in the Sequel Trilogy, and the music was fresh and the return of Williams' to the series since 2005!

Divert your attention to this truly terrifying piece, so foul it must've come from no place other than the depths of the lowest circle of hell. https://www.cbr.com/dcu-move-away-john-williams-superman-theme/ In all honesty, I don't find the idea detestable, because Superman as a character has changed and so much so in the Man of Steel that to attach Williams' theme betrays the character and the composition.

This show really was a slow starter, but now it's truly great. Love every second of it. I love the sense of fear and uneasiness of the prison subplot and all the individual parts of the Rebellion slowly coming together. It's about time the Empire was given some really toothy substance other than just being generic bad guys. The one aspect of this show that betrays it's Star Wars roots is the music which still remains anonymous. It certainly sets a mood, but it's incongruous with the sound of the rest of the universe and lacks any sort of thematic sensibility. This series is shaping up to be better than Mandalorian (for me).

RoS's Speeder Chase incident is still too fresh in my mind - one of Williams' last truly heroic action set pieces utterly ruined in post.