Arpy

I would think Eternals flopped because it was asking audiences to invest in a relatively new lineup of characters in an already crowded MCU. It didn't have the same brand identity as Spider-Man or any of the other established characters.

Pretty much. As much as I love the Dumbledore/Grindelwald story, it hijacked what could've been an opportunity to do something completely different from the Potter films. What could've been bright, wholesome adventuring, is instead a murky, dark, dismal series, with the Beasts serving as little more than spectacle, or worse, magical macguffins.

Will this herald a CD release? Fucken vinyl supremacists...

Balfe's orchestration, even when recording with a live orchestra, still ends up sounding like it was run through software.

Qui-Gon's Noble End

I've felt that the last two series of Doctor Who have been a mixed bag, but I've been enjoying Flux more than not! Some parts of it feel like the show I once loved, and it's a shame it's starting to get interesting this final season.

Then... Fuck trailers for false advertising.

Doc Ock: "Doctor Otto Octavius" *kids laugh* Fuck the MCU for turning one of the best superhero films and villains into a bad joke.

Perhaps Giacchino will write a new theme that specifically encompasses the villains, and also one for the Doctor Strange mcguffin cube plot device. In one way I'm kind of hoping he doesn't reference the older themes too heavily without first hearing what he might come up with.

There's a lot of air in Prisoner of Azkaban, especially during the horn parts.

Was finally able to see the film this weekend and for the most part I thought it was great. I was hoping for a Dark Knight Rises ending, in that we'd cut to some distant Cuban bar somewhere and we'd hear the familiar shaken not stirred line coming from Craig. We wouldn't have to see him, just hear his voice... The score worked fine, but it was definitely Zimmer on autopilot where he could just pull out some stuff he's used elsewhere wherever it seemed appropriate. Final Ascent starts off well, but kind of becomes every other Time variation out there. The score was also mixed strangely as if it was fighting for attention with the sfx which resulted in a really shite sounding muffling of the two soundtracks. What's missing from the score are the lush themes Newman gave us in the last two films, especially for Madeleine and seeing how she's a central character. There's also little in the way of transitional scene-changing music that leaves more quiet moments than not.

He's clearly a dog...

If Joker can win an Oscar for what essentially amounts to sound design, this score surely takes the cake. Zimmer fell asleep at his computer and when his head hit the keyboard, the autofill created Dune The Score.

I remember some guy in the front row of the cinema we were in got off his seat and onto his knees, crying with laughter when Marion reveals Mutt is Indy's son. He was rolling around howling. it was really bizarre. My issue with the film is that it really feels like Spielberg and Lucas weren't invested in the film's story and seized the opportunity to bring the franchise back to life when Star Wars was done and dusted (at the time) for nostalgia's sake. Indy was too old and despite some of the quips in the film making light of this, we still see him back in the same costume, doing the same heroic shit. Indy should've taken the role of his father and let Mutt assume the main role like in Last Crusade. Let Indy be the father who eschews time with his son for his archaeological work and Mutt could've been like the young, headstrong adventurer, you know, like the passing of the torch. What worries me about Indiana Jones 5, is that yet again it looks like we're going to see Indy back in the same costume, doing things that a man his age should not be doing all while John Williams' fanfare blares as a geriatric man swings from a whip.

The film and its score remain to be seen and heard. All we've heard is those few seconds presented in the trailer and the little clip on Giacchino's social media, there really isn't much to go on even with that.

To be fair - it's a teaser trailer of sorts, not a lot to gather of what the tone of each episode will be like.

1:51 - 2:10 is a wonderful Williamsism. The score for this episode was probably my favourite of the bunch in the way it emulates some of JW's style.

I'll tell you what I'm not disenchanted by: Revenge of the Sith, probably one of the best Star Wars films after Empire Strikes Back, and certainly leagues above the other two prequels. The sequels have made me only more thirsty for a complete score release of this amazing Williams score - it's dark, moody, bombastic, action-packed, somber, reflective and intricate and is really Williams giving us his last hurrah to Star Wars (before the sequels). WHERE IS THE OFFICIAL EXPANDED RELEASE? WHERE IS IT? WHY IS IT BEING KEPT LOCKED AWAY? WHY DOES DISNEY THINK THEY CAN DO THIS TO LUCAS'S LEGACY? The only thing mishandled here is that AGAIN we have to wait decades to hear this music properly.

Moffat started off so strong with Series 5, but lost steam by Series 7. Capaldi's era was (even by Moffat's own account) a kind of soft reboot and I think Capaldi's age, as much as it was a detractor to some audience demographics, really meshed well with the writing for his three seasons.

Well, it's not necessarily the creature itself that is at the core of those films problems and audience reception. Alien (1979) was more than just the creature, it was the atmosphere, the sci-fi get-up and the survival horror aspect too. Prometheus and Covenant took the creatures and demystified their origins, taking elements that are better left to our imaginations. The question of where the space jockey and the ship originated, or where the alien eggs came from don't need answers, they were merely elements used as a backdrop for the story.

Prometheus and Covenant were silly films. Scott needs to move on.

Hopefully the score works better in the film which I'm very much looking forward to. This is pretty shite music and I say that as someone who has loved Zimmer's other works. Quite disappointed with this effort and his for Dune. Over-produced, soulless, just evokes no feeling whatsoever. Zimmer had Mazzaro work on this too. Yikes.

@Jay Thanks for the update. I've bought quite a few Japanese score albums - largely from anime series and one thing I love about them is that there's a lot more attention paid to packaging than our western counterparts, which makes sense that these are physical items. I love the addition of obi strips and other packaging ephemera.

An alternative is to get it shipped to someone in the US who could then deliver it using any other postal service than USPS. I've ordered a few things from the US that have so far (fingers crossed) been processed through the USPS system. So if they don't go through then we'll know for sure nothing else is gonna get through.