DarthDementous

Venom is what you get when a corporation wants a quick comic book film and they just slap it together without any care in the world.
I don't get it, you're warning people away from the film for what it contains even though you haven't seen it???
 
Why don't you just watch the film and then make that judgement, because it sounds like the same old 'violent movies/games/media is responsible for violent people'. It's also foolish to judge a film by its trailer, when 90% of the time it's edited in a way to sell the movie one way or another without accurately representing the actual content of the film.
 
As it stands this film really isn't that violent.

lol
 
 

So, watching The Orville has officially entered the list "Things GRRM is doing instead of writing Books 6 and 7".

The weaponry on Threepio is fantastic news in that it means Threepio (and hopefully Artoo) might actually freaking do something in this movie.  GSOB is right; this is one of the sequel trilogy's least-remarked-upon but significant failures.

Is it just me, or this poster has a very 80s vibe?
 

Here you go:
 
 

Can't they get an interesting actress for a change?

Oh Chen.  Bless your heart.  You're right, you're a big boy.

I love how Williams scores the climax of The Last Jedi. There's a lot of great moments in it!
 
(I'll be using clips from the albums)
On 0:56 on The Spark, this sad and mournful rendition of Luke and Leia's theme from ROTJ, scoring their reunion over such terrible circunstances. They've lost Han, they've lost Ben to the dark side, the galaxy is on the verge of becoming ruled by tyrants - which is specially painful, considering how hard they fought against the Empire.  Then, on 1:52, there's this brief, but very touching and emotional passage for strings, followed by another sad rendition of Han Solo and the Princess, as Luke gives to her sister the dices Han used on the Falcon - the three were briefly reunited, although on a tragic occasion. On 2:15, the music builds and builds and gets more powerful as Luke walks to the outside of the bunker to confront the entire First Order all by himself. I've read a lot of theories about that passage on The Spark - it's the Imperial March on a new setting, it has this and that theme, but what I know for sure is that Williams music helps elevate the scene and it's perfectly sincronized with the picture. On this unreleased bit, the music builds again, leading to a heroic version of Rey's Theme. Now, a bit of a story: I listened to the OST BEFORE watching the movie, which I did on December 17, its first Sunday. Also, before going to the theater, I was spoiled that Luke was going to die at the end. So, when I listen to this choral passage on The Last Jedi, I found it to be a little similar to Amistad or Schindler's List, and I thought it would actually score Luke's tragic demise - and the fact that the OST track followed with a grandiose performance of Kylo's theme, I was even more sure of that.
 
However, I was pleasantly surprised. The choral stuff is not tragic, actually it is the contrary: it scores Rey lifting the rocks of the cavern and allowing the surviving Resistance soldiers to escape, which is preceded by Luke saying "and I won't be the last Jedi". I've give some thought on why Williams used the choir to score this, well, rebirth of the Jedi. Maybe it's a way of connecting the First Order era with the prequel era, an age during there were a lot of Jedi on the galaxy, and which had some more choral based music? Or it is his way of giving the rebirth of the Light Side of the Force a more religious tone?
 
Then, Kylo attacks Luke at 1:50 on the OST track, but to no effect. And the music that scores the revelation of Luke's trick and that Kylo was fooled and blinded by his own hatred is pretty incredible - almost dance like, with percussion, piano, strings and choir, then concluding with a very indescribable fanfare for French horns. I mean, the music is not heroic neither triumphant, is almost like the score is from Kylo's point of view, expressing his rage and confusion. It's an emotionally complex scene, and I'm not sure how would a less talented composer would have approached it, but Williams certainly nails it.

A key element missing musically from the post-Williams Potter films (aside, of course, from Williams himself) were scores that didn't just support the films they accompanied but that also dared to interact with and engage in helping to create the visual narrative as well.

I think a great example of this is in the first film when Harry first discovers the Mirror of Erised and looks into it to see his dead parents standing alongside him. The scene shows Harry's entire approach towards the mirror and his revelation. Now, Williams could have easily, and quite logically, chosen to start playing his wonderful family theme for the film right when we first make the discovery alongside Harry of what the mirror can do (i.e. when we first actually see his family - at 1:04) and it would have fit nicely and hit the proper emotional beats and what have you. Instead, Williams holds off, instead scoring Harry's approach and discovery with something a little more somber but still effective. It isn't until Harry himself reaches out and touches the mirror (1:40), physically both reaching out with longing for something he can't have and seemingly summoning the next bit of music in the process, that Williams allows the family theme to be heard. 

It's so subtle but so incredibly genius. You don't even really notice it if you're not paying attention to it. On one hand, you have the visuals dictating the score in that it isn't until we see Harry touch the mirror that we hear the theme. On the other, we also have the score interacting with the visuals and, by extension, dictating our own emotional experience because by delaying the usage of the theme Williams is picking and choosing when we, the viewer, get to feel that maximum emotional impact. On an even larger level, Williams doesn't use the theme until Harry himself, by virtue of being so overcome with longing that he is moved to physically react to what he is seeing, reaches his most emotional moment of the scene, and, by waiting until then to play the theme, so also allows us to share with Harry in that emotional moment. Just sublime.
 
 

This scene is hilariously bad: the direction, poor fight choreography and the inexplicable use of slow motion.
 
However, Williams scores it with a very fast paced, brutal and frenetic piece, almost like something coming out of The Lost World. I like the contrast between the slo-mo and Williams energetic action music. I'm not sure if when he scored it the scene played at normal speed or if it was his artistic decision. Maybe if he had scored it with a slow and mournful piece it would have given Gabriel's fate to early to the viewer, so perhaps he scored it with fast paced action music to give the impression that Gabriel actually has any chance of defeating Lucious Malfoy, I mean, Tavington, and thus making his death more surprising. James Horner employed a similar strategy during Samuel's Death on Legends of the Fall - there's some heroic and energic horns scoring Brad Pitt looking for his brother on the battlefield, giving the impression that Samuel might be saved after all.
 
 

This whole track is good, but I love the first two minutes. Typical Williams warmth of the early 2000s. Sooooo good!
 
 

Crap, I think you're right!
 

I really love Marty O'Donnell's Halo and Destiny music. It's a shame that he was fired from Bungie. Here's musical prequel to first Destiny:
 
 

I wish more video game composers would do things like this. I'd love it if, say, Mark Griskey did something similar for KOTOR and TFU.

In my opinion, there is good and bad film music written every year, good and bad tv music written every year, good and bad video game music written every year..... I don't spend time thinking about years of good or bad times and sorting things like that, I just simply listen to scores I haven't heard and hope they're good, or listen to scores I've already heard and know I like. Regardless of the medium it was composed for.

Something tells me you watch ....
 

Well, considering the utter disaster that the last movie was, they'll sure need a lot of time to course correct. 
 
Just look at the Zack Snyder situation: after BvS disastrous reception and disappointing box office, they could have used a little more time to correct the franchise, but Warner rushed with the production of Justice League for it to meet its 2017 release dat at all costs. Now the DCEU as coinceived by Snyder doesn't exist no more, and Warner is still pretty much deciding what to do next ("Do we reboot the entire thing? But people love Gal Gadot's Wonder Woman and Jason Momoa's Aquaman!").
 
They apparently learned their lesson and are not rushing the production of FB3. However, I do wonder if this will save the franchise after the sour taste left on after the horrendous Crimes of Grindelwald (easily the worst blockbuster I saw last year, and I'm a Potter fan). Plenty of (relatively speaking) good movies bombed at the box office after they followed a much-hated film.

The rougher sound, especially drier percussion and more booming brass, together with a faster tempo and stronger timpani presence, made the great piece even greater in my view. One can feel the primal roughness of the descent into wilderness it portrays. The wizard in charge did very well.

It definitely feels like a sister piece to his new HS&TP arrangement. It's a gorgeous two-movement mini-suite just for Carrie.
 
And if this is Williams' writing form in 2019, I don't think we have anything to worry about for TROS. He's still at the top of his game drawing inspiration from this series, even after four decades writing for it.