Arpy

Herrmann never wrote a score as good as The Lord of the Rings.
 

Recently rewatched Smith/Moffat's first season and really, honestly just can't get over how much fun it is. I loved it at the time, but now it just hurts to see how much the show has dipped in quality since. I know the Chibnall-bashing is flogging a dead horse but the difference is night and day.
 
What stuck with me wasn't the arc-centric episodes (which are very good), but how entertaining the monsters-of-the week are. Vampires of Venice is a delightful romp with a wonderful villain in the late Helen McCrory, jam-packed with fun and illuminating character beats from Amy, Rory and the Doctor. The Lodger makes me laugh out loud despite the broad humour sometimes falling flat - it's almost always made up for by Smith's earnest performance.
Victory of the Daleks, which I recall being very tepid on, just sings in comparison to something like Revolution of the Daleks (the blatant plot similarities notwithstanding).
 
Even the most expository scenes vibrate with energy and movement. To then watch something as anaemic, simplistic and procedural as Orphan-55 or Arachnids in the UK is such a drag.
 
As I said, flogging a dead horse, but man, remember when Doctor Who was fun? Or at least tried to be?

The Revenge of the Sith 2018 release has distortion present over the Battle of the Heroes segment of the credits - it's egregiously bad. Not sure how anyone didn't notice when making the set.

Dude! Flying With Mother!

Just wanted to say the art direction for this set is great, has a nostalgic feel to the early 2000s, but also more modern and 'archival' in some respects. Haven't had a chance to listen to the score yet.

I posted this in the thread @mrbellamy linked to above, but when I was writing a chapter for a collection of Williams essays a few years ago, I had a need to define his output into style periods. Although making such distinctions with hard dates and films is admittedly artificial and ultimately arbitrary, I think it still helps us to understand broad stylistic changes, which I think we all agree are there.
 
Anyway, my breakdown looks like this:

To justify this, I looked to major biographical events, changes in filmmaking techniques, and - the thing that was my focus in writing the chapter - the type of structure he used in writing the main theme of each film (which well supports these divisions).
 
I go into plenty of detail in the actual chapter, which you can access here in case you're interested:
https://www.academia.edu/37265666/The_Use_of_Variation_in_John_Williamss_Film_Music_Themes
 

@crumbs Airbender is a great score - check out Flow Like Water.
 

@crumbs Airbender is a great score - check out Flow Like Water.
 

The trailer shows way to muh of the movie for my taste. It one of those trailers that make me feel like I essentially just saw the movie and I don't mind much about the remaining details.
Shyamalan has brillant ideas, but for my taste he is explaining those too much in detail in his recent works.
Especially, when you do horror movies, don't explain too much. The unknown is more terrifiying than a completely explained evil.

My boss was getting rid of a few items from his old Star Wars collection and gave me the anthology soundtrack set. 
 
 

The whole Codebreaker diversion to Canto Bight is utterly useless, Finn and Rose should've gone after Rey and had their relationships developed further. 

The whole Codebreaker diversion to Canto Bight is utterly useless, Finn and Rose should've gone after Rey and had their relationships developed further. 

The whole Codebreaker diversion to Canto Bight is utterly useless, Finn and Rose should've gone after Rey and had their relationships developed further. 

Everytime Hollywood makes a big deal over diversity it sours the well-intended gesture of including diverse characters and in trying to avoid having token ethnicities like in the past, it ends up looking exactly like it.  
 
Diverse cast members is the least of my worries when it comes to this show right now, because race and ethnicity won't mean a thing if the writing is shit.

The Force teleportation powers were hinted at in TLJ - with Kylo having droplets of water on his hands from Ahch To.
 
Yeah, I've heard people complai about how the film tries to retcon TLJ, but it doesn't do that at all.
 
What gets me is when people say TRoS or TLJ were the worst movies they've ever seen. I mean, c'mon 'the worst'?
 
 

Nah, I was saying the opposite of what was true   I'm a fan of the Getz/Gilberto album! I picked up an original LP last year and have really enjoyed listening to it.

Nice bunch of Pat Metheny CDs, you have there, @Arpy.
OFF RAMP is a stone cold classic.

That must have been after he picked this up:
 

 
Once you go remastered, you never go back!

Just wanted to say the art direction for this set is great, has a nostalgic feel to the early 2000s, but also more modern and 'archival' in some respects. Haven't had a chance to listen to the score yet.

My boss was getting rid of a few items from his old Star Wars collection and gave me the anthology soundtrack set. 
 
 

Just wanted to say the art direction for this set is great, has a nostalgic feel to the early 2000s, but also more modern and 'archival' in some respects. Haven't had a chance to listen to the score yet.

My boss was getting rid of a few items from his old Star Wars collection and gave me the anthology soundtrack set. 
 
 

I have that set, I think it just has a fold out poster with images...

No hunt needed, as most of the albums are included in the Australian Eloquence releases, although these don't seem to be remastered:
 
 
Btw, one of the Australian Eloquence releases are on Spotify:
 
 

Just to steer this back to topic, thanks @Jurassic Shark for posting this, I think I'll get this as it's a nice collection for the casual Herrmann fan like me who doesn't want to hunt for all these scores individually.