DarthDementous

yeah I suppose you're right. it's a little depressing because it sounds so nice but I guess it doesn't cover any new-ground and is more of an imitation of William's iconic pieces.
 
at the very least I wish Giacchino would bring that sound to this score if not just for being Star Warsian, but being very pleasant to listen to.

Maybe some members of the Academy are getting so old that they need huge cover art to see what film's music they're listening to.

Love what I'm hearing, I don't know but it sounds a bit like some prequel music. I'm even more hyped by that Giacchino score now!!

As a psycho-fan of Gordy Haab I just couldn't resist:
 
 
 

I think the film will be significantly better than the Episode 7 film.  The score, for some reason I think I'll like more too.

Somewhere, maybe at this very minute, John Williams is sitting somewhere writing or orchestrating new Star Wars music.  Squeeee!

Or Giacchino will be using that window to record his replacement score.

It's the same credit that's in the trailer though.

I meant that Doyle made an impression on me. The few Giacchino scores I know so far are either dull or unlistenable or both.

Yes. Some appropriate quotes of JW themes here and there is the way to go to anchor the movie into the same universe as the other films. I'd rather have Giacchino compose an original score in the Star Wars vein than do a dutiful string of theme renditions from JW's scores.

Moffat seems to think that endlessly providing plot twists is the way to good, solid drama.
It only works if you do it occasionally and when your audience isnt expecting it, or is expecting something different.

I admired RTD's handling of story arcs more than Moffat. Moffat has the ability to write great stories and episodes, I just think he gets caught up trying to make all the threads of the stories mesh as a season.

Saw the film yesterday.
 
It was meh...but fun. And for me less cringeworthy than the HP films.
 
One of the worse things i dislike from harry potter is the stupid vocabulary 'muggles' etc.
 
I'm glad the american mages are lot like the british... alongside they word no-maj, they use 'no mages' alot which sounds much better and not a ' i want to create an artificial language in my books' thing.
 
I dont like that most of the creatures in the film have strange names...and they throw then as if they were common knowledge...couldnt they have used variations of the countless mythological beasts that already exist?
 
 
The score was a plus. I didnt expected a return (more or less) of the Williams sound after what we got in half of the HP films.

I would generally say the score can only disappoint if you expect JNH to be John Williams. Very much in the same way his Peter Pan got lukewarm reception back on 2003. And, to be honest, that was a solid score too. It does feel like it belongs in HP universe and it feels more at home in this universe than most post-Williams Potter scores. And it also has a nice American vibe which makes it a bit more distinctive and really appropriate. I can hear several new themes. None of them come close Williams, of course, but it's all solid reliable stuff, better than most scores of this sort these days. And yeah, better than most JNH scores these days, for that matter. Most of the stuff on the DE is good material even if the listening experience feels a bit unwieldy. But yeah, I like it overall.
 
Karol

Yeah, that first track (which I think was the first thing previewed, right?) is by far the worst thing about this album. I thought it was going to suck based on those 3 minutes.
 
Karol

You guys, who are both film music fans and fans of the film they were written for, have a hard time dissociating the two and thus find that the only logical way to present the music is in film order. It's understandable and somehow reasonable.
 
But the thing you have to understand is that an OST isn't (necessarily) designed for fans of the films/film music aficionados only. It's meant for a wider audience, and it's also a different format, thus it's supposed to work in a different way: here you just have the music, not the pictures to go with it. People who haven't seen the film don't care if the cues are in chronological order, and so do people who have seen the film but didn't really pay attention to the order in which the cues appear. All they want when they buy the OST is a good music album, a satisfying listening experience from start to finish. And sometimes, the chronological order doesn't make for the most exciting experience, for example, with a score where only the second half offers meaty material, or a sequence with 40 minutes of uninterrupted action music. Picking cues here and there and moving them around can help offering a smoother and more fluid musical program.
 
Personally, while I'm rarely satisfied by OSTs that shuffle cues around, merge them, etc. (because, like you, I often have a hard time dissociating the music and the film it was written for) I still find it to be a valid approach and it can be a good way to offer a more satisfying listening experience than the chronological one (I've come to appreciate more what album producers are trying to achieve as I did more and more edits of my own from recording sessions leak).

If there's one thing the internet needs it's more negativity. 

Cuarón was always the best guy they found for this kind of stuff. I'm pretty sure many people could do great things with the material, and it annoys me when big studios don't try to get the most out of the stuff they have. I mean, even Marvel tries that at times.

And my God I can't get that theme out of my head this evening. Especially that celeste performance from "Pie or Strudel."

This is definitely JNH's best big Hollywood blockbuster score since King Kong.  Maybe he's especially inspired by interwar New York City as a setting?  Heck, both movies involve a giant beast sliding across a frozen pond in Central Park at night!  What are the odds?  

They could have made two films for each storyline in the film. The two plots only overlapped out of convenience rather than necessity. Also, the film felt really, really long.

Well, I liked it. 
 
I guess I get the complaints about lack of character development, but at the same time I loved that group of four. I don't know if it was just good casting but as personalities they sparkle, I found them pretty immediately well-established, appealing, empathetic, invested in the story and the fictional world. By the end, I was surprised how much I was enjoying watching these characters/actors interacting with each other. I'm not gonna lie, the last 10 minutes or so of this movie resonated with me more than the same in Deathly Hallows: Part 2....it's one of my favorite endings of the year and probably the franchise. Sweet and genuine, it actually completely made the movie for me (just as it was falling apart too...)
 
 
I continue to find David Yates' sense of visual and rhythmic timing pretty inconsistent....the pacing felt a little over the place. Didn't help that Rowling's screenplay kept darting back and forth every which way, and Yates didn't really do much to fluidly navigate all that. Score was lovely, a little disappointed in the mixing (seemed toned down from what we heard in the clips and some stuff was just wasted like the Erumpent cue) but overall got enough time to shine. I couldn't really care less about the finale theme being an Edward Scissorhands/Polar Express ripoff, it was lovely here.
 
Storyline is clearly lacking compared to Potter....yet somehow this won me over. I guess I just came away impressed by the emotional tenor of it, the vulnerability and sweetness in the performances. Found it funnier and warmer than Yates' Potters, not sure how I'd rank it against them overall, though. I enjoy the 4 main characters, the extensions of the world and level of consistency with the books are laughably better than Cursed Child. Don't know how excited I'll be by #5 but I'd be happy to take a second one.

There's a few electronic/synth elements to the score, but it's nowhere near the level where it's more of a "pop" score than an orchestral/symphonic one.