Bofur01

ASM ruins it, or Williams with what he has written?
I don't think ASM does anything on her own...
 
Unless, you mean with another violinist you would like the piece more...

I've listened to it twice now and it has not left much of an impression on me.  Perhaps I need more coffee first.

What I understand from @PrayodiBA's perspective is that the number of musicians was probably less on Call of the Wild. A lot of the tracks are more on the bare side with guitar solos for example. 
And the fact that a score is being recorded at Air Studios or Abbey Road usually means it's a big full orchestra. They wouldn't go there just to record a small ensemble. They want the big room sound of those stages.

The control of star wars and Indy is beyond diluted at this point that it's quite obvious people just need a scapegoat for their franchise being 'ruined' and to think otherwise is just extremely naive

Not this shit again...
 
It's not difficult - Zimmer's done some memorable scores, and also some terrible ones. It's nice to be able to discuss the better ones without constant interruptions from those who hate him and wish he'd never entered film music.
 
 
I don't think John Williams is a God of music 100% of the time. I look forward to your acceptance of this in return, then we can carry on with our lives.

The only score in that list above that could sensibly contain the complete score is Super Mario Bros. Everything else has at least 30-40 minutes less than the movie's length. Those are extremely generous releases based on what their respective composers wanted to put out, but they're highly unlikely to be complete.
 
John Williams is obsessed with creating carefully curated albums, and against presenting complete scores of recent work. That's why he doesn't have longer releases.

In what world is an almost 40 minute discrepancy complete?

You seem rather keen on blaming someone other than your musical idol for the lack of release, but given how much persuasion Williams evidently took to release anything other than his OST assemblies for the Indy box, I don't think it's Iger/KK being musical assholes.
 
And it's just not true that 'every' modern blockbusters get complete releases and Williams doesn't - that was debunked when an equally hyperbolic KM accused the industry of wholesale refusing to expand JW's scores. In fact, given you guys just got Presumed Innocent, Amistad, Sabrina and a handful of reissues, I'm actually looking forward to something non-Williams at some point.

It's just very evident. For example all the video game scores needed to be sent to him for feedback/approval, him allegedly requesting changes to Rogue One's score, him requesting that his themes not be used as much going forward (which was confirmed by a few people iirc). Disney owns the scores, they don't have to listen to him. But they do, because they respect him.
 
And like I said, Powell and Giacchino wanted expansions for their scores and got them. What reason would they have for denying John's request had he made one?

All signs are pointing to this being up to John himself. If we already got expansions for the two spinoff films, it's clear that the composer has at the very least a major say in what is released and when. We know that Disney/Lucasfilm listen to John, and we know that he can often be stubborn about releasing expansions, and taking the time to make sure that they're up to his standards.
 
Like I've said a hundred times before; for all we know they could already be working on something, but given the girth of material it's obviously going to take a long time.

One of the examples that come to mind would be Joe Kraemer. He seemed like a really big promise in the action blockbusters, with Jack Reacher and his excellent Mission Impossible: Rogue Nation, but after that he has done only a couple of small projects. I think I read something about some disagreements between him and director Christopher McQuarrie, and it's a shame, because not only he got replaced in the following Mission Impossible films, but he has almost disappeared completely from Hollywood. Here's one of my favorite cues from Rogue Nation that shows how great he is.
 

I don't know. What about Sinbad or Kingdom of Heaven? If nothing else, he will be liked for those two. And I actually very much enjoy the theme he contributed to Prometheus.
 
Karol

Considering HGW's score to Sinbad is more exciting and fun than JP's HTTYD scores, I think the assignment landed in the right hands.

I have gushed about Third Date before. I'm sure I vastly underappreciate the score to 3.
 
With Love Comes a Great Waterfall. Wow. @Tom Guernsey that's quite good!
 
I'm listening to The Hidden World and... Ohhh my. I should listen to this so much more. It feels so much like Jones' Dark Crystal! That choir doesn't sound like a film score at all. It feels so live!
 
It's funny, because I fell in love with the score to 2 before I saw the movie. So it's not like the movie 3 disappointed me and I didn't get into the score.

You can hear that one in his Khazad Dum music!
 
Although I stumbled upon this bit in his blog:
 
 
Oh Bear, you sneaky man! I see what you did there! 

Jesus Christ

I very much enjoyed reading this excerpt. It was fun listening back to 'Under Hill' after reading it.  I would give an arm and a leg to read the whole book! Imagine being able to listen along to the complete Hobbit scores while reading along to these kinds of insights.
 
I wonder if Doug's analysis points out the melodic similarities between the Goblin Town melody and the Lake Town melody. Seems like Shore was drawing a intentional comparison between the two haphazard dwellings. They follow the same melodic shape - with an initial rise then three sets of three repeated notes before falling to a final lower note.
 
And will there be any other interesting connections and nuggets we've yet to discover!

I find The Book of Lost Tales a very peculiar read. Kind of stuck halfway between the fairytale world of The Hobbit, and the grown-up mythological world of The Lord of the Rings. Very odd.
 
Ultimately, out of Tolkien's Middle Earth output, there are only three true narratives: The Hobbit, The Lord of the Rings and (as completed by Christopher) The Children of Hurin. The latter, with its air of the fjords and grim atmosphere, was never going to be as popular as the others, but its a literary achievement to rival the Manns and the Dostoyevskis of this world.

I crave more John Powell awesomeness, but I don't think this Michael J. Fox doc will satisfy my craving. It sounds like it is going to be a bit like JNH's Light & Magic doc: pretty and inoffensive, but forgettable.
 
Weren't there rumors of a new animated Powell score also coming this year?

The ToD scene also works without having seen Raiders, so I really can't see the problem with it.

I really didn't hate Dark Fate. It was pointless drivel but I had good time watching it.
 
Karol

OK you guys are really, really reaching with some of these "references"

Mad Max: Fury Road and Top Gun: Maverick are the two legacy sequels that come to mind where if this got an equivalent response then the consensus would probably be that it's the best Indy sequel.
 
But I think for that to happen, that mythical film would have to be the best of both worlds where it rivals Temple of Doom's funhouse setpieces and stunts for even the biggest fans of that one, while also having a comparable sentimental ending to Last Crusade. The inherent challenge with both of these is that it's hard to be as authentically outrageous as Temple of Doom while also being palatable for today, and conceptually "Holy Grail and Indy's father" resonates more immediately than "Dial of Destiny (?) and Indy's goddaughter (?)"
 
I think for myself and probably a lot of people, Crystal Skull will be the main comparison point. A low bar for 5 is that it ends up being a fairly derivative action-adventure, straightforwardly entertaining and perhaps capturing the Indy "vibe" without really doing much new with it. In which case the argument probably becomes if that's better or worse than 4 which maybe has more personality even if it's awkward lol. 

I saw the Irishman. 80 year olds, even ones  aging in “Hollywood time,” do not move like 40 year olds. They just don’t. I’m not saying it’ll ruin the movie, but it will be noticeable, I’m sure.

I'd say series 5 is his best work. Stylistically speaking it's more cohesive, with a definite fairytale approach reflecting the narrative writing, and the album selection is pretty great and not overly padded out like later ones. It's obvious he was very inspired by the new direction of the show. I'm also a big fan of the Raiders-inspired material for the two-part finale. Personally I'm neither here nor there about his theme for Eleven (I Am the Doctor), but the other theme for the Doctor he introduced in that series is absolutely exquisite, and one of my all time favourites:
 
 
 
Thanks for sharing that DWM article, @Oswin Pond! What an absolute treat to read. It's clear that just about everyone is stoked about his return. I don't know what I'm more excited for - the return of some of his great themes or the new material and style he's bringing to Ncuti.