Holko

Wow, that's news for me, too. According to the Magpie's Nest, here are the lyrics: four fast beats per bar, time stamps every other bar triple dots is note sustained over a beat. [7:47] di ... ... ... ... ... ... ... [7:53] tho(n) ... ... ... ... ... ... ... [7:58] na ... ... ... ... ... ... ... [8:03] meth ... ... ... ... ... ... ... The Source text of which is the last line of The Argument: go hon bedithon na meth. I will go with him to the end.

So, I want to take advantage of this 16% sale combined with my little bonus I reserved back when the new website opened. This would be my first direct LLL and my first overseas purchase. But what to get? Empire of the Sun, Home Alone, Waterworld. EotS I love, Home Alone is Christmas fluff and childhood memories, Waterworld is a kickass 90s action score. How do I pick two of these?

Curse of Frankenstein (1957) (seen before) Cushing and Urquhart are great, but that's about it. This Victor's a complete sociopath instead of an obsessed but good man, the monster's just a monster (when it's in it), it doesn't have Universal's hint (or grand dose) of German Expressionism, which is expected, but doesn't quite have the Hammer Gothic look yet, either, except maybe in general atmosphere. So what did it have to add to the story and perfect predecessors? Um... colour and gore?

Quality in which area? Sound quality? That's mostly good. I don't hear much hiss in AotC, STAR WARS is not as punchy as I'm used to and select tracks of Empire are a fucking travesty that we as a species should collectively be ashamed of being able to produce. Mixing and take selection? Phantom Menace is the worst at it with the alternate DotF take and whatever was done to Augie. Not having the wardrums in Enter Lord Vader was JW's shroom-influenced decision in 2005. Edit recreation? These sets are pretty much my first ever listen to the OSTs, so half the time I have no idea if the new recreation sucks or some of JWs ideas were already stillborn 19 or so years ago (Arrival at Coruscant transition in the first track of TPM, or the whole track The Droid Invasion and the Appearance of Darth Maul, transition form The Arena to Padmé Falls, Main Title and The Revenge of the Sith...) Overall I can live with them. We're not likely to get any better or worse editions anywhere in the foreseeable future. Also, just to amend my RotS post: I'm bloody tired of the TPM Main Title recording. I've already grown to hate it playing many videogames years ago, which all used it.

And he didn't like it, that's why he calls honest fans manbabies all the time.

Yeah, I think Rian said he was referred to as "baby" somewhere.

Revenge of the Sith (2018 demaster) Not only is the score itself a bit fragmented and falling apart (as far as I can remember from listening to complete film edit recreations years ago - all the obnoxiously incompetently edited Arena tracking is the most consistent point), this presentation is messy. Apart from the last 4 tracks gelling together extremely well, there's no real throughline or building, everything is everywhere. This is the first one today where some edits and takes REALLY bothered me. Right in the first track, the original opening completely ruins the mood and takes all the weight of the Force theme away with the Good Guys Arrive motif and the little flourishes instead of the war drums. Then after the opeing, instead of presenting the whole Battle piece full of fun bits, it cuts to the least interesting segment which is just some orchestra supporting the wardrums, then cuts away to The Elevator Scene's moody string tension instead of the fun Star Wars-y landing. I destroyed my left heel and shin recreating the sorely missing percussion in Enter Lord Vader by stomping on the floor. Oh, and of course 10 minutes of album time occupied by Leia's Theme and Throne Room variations is always nice, it's not like I could take The Skywalker Symphony out at any second and put that in to listen to the same.

And he could help get the petition to the people who can do something about it instead of it surpassing a number but nobody knowing or caring that it even exists!

Attack of the Clones (2018 demaster) As much as I'm not a fan of the score and dislike Across the Stars, this is a very admirable and likeable assembly. Not as heavy on AtS, mostly selecting the better renditions (Meadow Picnic!), and leaves the dreadfully dull, repetitive and undeveloped Separatist motif out entirely! The Arena is an event, and it really feels like the album has been building up to it (while Phantom Menace is a bit more all over the place), and the finale manages to top it.

But he's raping Potter! He completely disregards Rowling's vision and intentions and goes against what the real OG fans want! I don't know why y'all can't see how objectively terrible and agenda-driven these new movies are, and people who think this are definitely the majority. We won't stop until Yates is fired and Heyman steps down as producer of the franchise, it's his fault mostly.

Phantom Menace (2018 demaster) If you can look past some wonky edits and a ton of fantastic material missing (but to be fair, this score is 90% highlights and 10% filler), it's a great little presentation of a great score. I'm not that enamored with Duel of the Fates in its concert setting (give me The Great Dual any day!), or with Anakin's theme, but this relies much more on setpiece-specific settings, motifs and fanfares than too much theme repetition.

A decade jump, but still staying with Universal. Creature from the Black Lagoon (1954) Good. Standout bits are the creature's design and sound, the location (refreshing to see waters and trees after so many rocky, foggy studio sets), and the underwater photography. Really disliked the constant end-of-the-world stingers whenever the Creature came onscreen. It's kind of sad to leave the classic era, Karloff and Lugosi behind, but I'm looking forward to all the possible goodness that lies ahead: Hammer and Price coming up! Any good?

Now begins the greater sailing to uncharted waters... The Wolf Man (1941) The closest I ever got to seeing this was in Beethoven... The dog movie. And it's pretty good! Chaney is great, even if the makeup is hokey, Rains is great, Lugosi was a nice surprise and is memorable with his tiny screentime. Score's quite good and atmospheric as well.

Between the two, much closer to the former. There are no alternates (one could fill 2 or 3-disc sets just with alternates, though) or major remastering (would they even need it?), but aside from Fellowship, which is virtually an isolated score with some recreated tracking and such, it sports the unedited and final intended versions of all cues, even dropped ones. The booklets have breakdowns of all major and most minor themes and motifs with little score excerpts. Both in execution and concept, they are far above the Concord Indies, those do not recreate intended transitions, put random cues on a bonus disc and leave others out completely, present early versions of cues at times, and of course the infamous incorrect pitch. The worst the CRs ever get from a technical standpoint is the nearly completely dialed out choir in Keep it Secret, Keep it Safe because it's also dialed down in the movie, or sequencing issues stemming from using the unedited intended cues written for an earlier cut, and trying to put them roughly in the final film order, causing things like Faramir getting reprimanded for losing Osgiliath a track before he loses Osgiliath.

Oh yes, as much as I wouldn't want to listen to it on its own, the overdramatic 30s pastiche works brilliantly!

And as the second part of tonight's double feature, rounding out the quadrilogy... Young Frankenstein (1974) (seen before) Absolutely fantastic. Top effort from everyone involved, especially Wilder and Boyle.

Son of Frankenstein (1939) (seen before) So, a sequel with the son of our previous hero, the monster showing up again with "I'm not dead!" after a self-sacrifice, retconned location design, a kid who can't act for his life... Bride soared despite of its sequel-itis, does this, too? Well, yes and no. The atmosphere and production design are great, Basil Rathbone is great, the inspector is a relatable straight man, Uncle Béla has a lot of fun in terrible wigs and fake beards as Ygor, and the movie on its own is pretty good. But is it a good Frankenstein follow-up? Something is just missing from its spirit. Henry was at heart a good man who went too far with a crazy idea to the point of obsession, but came back to live his life and fought against his own creation. Wolf slowly goes batshit insane, then back at a switch. And good lord, the monster. They took away all his complexity and relatability and turned him into a tool for Igor, a plot device instead of a character. Karloff can't do much with his lack of material except when mourning Ygor. Actually, I take the complexity back, the monster does have a friendly relationship with the kid - completely offscreen. God, that fakeout where he pretends to want to throw him into the sulfur pit is terrible. It's a good movie, but I don't think it's a particularly great followup to what came before. It does have one great thing to come out of it, though... TO BE CONTINUED

The ending scenes were heavily reedited after previews or just during post if I remember correctly.

Or at least strongly suggested to him from the moment he was hired. Kennedy did say a few times 7 was Ford's movie, 8 will be Hamill's and 9 will be Carrie's. Now, that's not really possible anymore but we know TLJ was not altered because of Carrie's death. So probably killing them off one-by-one was planned very early on, probably one of the very few things they preset for the trilogy.

Prove that you aren't, or that over 50% of the fanbase is disillusioned.

From Russia With Love is great, but the movies started getting "Bond" with Goldfinger. You Only Live Twice was my favourite early Bond when I watched them. Can't beat Little Nellie, space rockets, Blofeld looking like a cracked egg, thevolcano base and Connery's "Japanese" makeup.

Pajamas for me!

I think it's a crucial part of the movie, especially the end, transitioning to the now hopeful new generation from the otherwise almost pointlessly nonsensical "How do we rebuild the Rebellion from THIS?" "We have everything we need".

That could have ben beneficial for Finn, but if Canto Bight is lost, the whole message of inspiring hope in the little people instead of stupidly confronting the undefeatable war machine gets lost with it.

How? Only the highest circle would know the suspicion, Poe would still send Finn away which would add to it.