Fancyarcher

Monsignor would be another "WTF" one, since it was such a huge flop and regarded as a bad film, though it did produce a fine Williams scores, and I'm sure the subject matter and potential interested him.

Changing Lanes is a good score, yes.

That's different, and I like the score fine, but I'd like to see him try his hands at a really dramatic film, the closest I can think of is 50 / 50 (nice guitar music), and I don't think that score ever got a proper release (was there much of it in the film to begin with anyway?).

Maybe, it could also be that he's simply not seeking out those types of films as well. Some composers can be typecasted after all (the various composers who work on comedies would probably know a thing or two about that), but Gia just seems to have no ambitions to stretch out beyond "blockbuster sound". I enjoy a lot of his work, but he could try to vary things up once and a while, I think.

It's definitely not as strong as his earlier Emmerich work (he has yet to pass those three scores IMO), but I think it's better then Casino Royale because he manages to tone down the electronics. Shame Arnold doesn't work on films much these days. His work for Sherlock is fine, but he should be getting big assignments again. Oh well!

True, but at this point I doubt Gia even wants to be the "next Williams". He just likes working on blockbusters or films with directors he's comfortable with, even Williams did a lot of dramatic films during his prime. Gia doesn't seem to be interested in that.

Possibly Arnold's best Bond score. Definitely his most "redefined" anyway. The "Night at the Opera" cue is aces.

Giacchino is not as good or as experienced as Williams is.

I like Rogue One but it's hardly as good TFA.

King Kong by James Newton Howard

Tragic, but not surprised. Heroin is awful. RIP Ms. Fisher!

Link's not working. Is this not finished?

You're not exactly alone. Donald Duck was always more popular back in the day because of his "hot-tempered personality".

I like Rogue One, but boy can it be "overpowering" at times.

Jules & Jim - 8.5 / 10

Yeah I heard the actual production was great, the actual story sounded like bad fanfiction though.

Never saw the play but based off what I read of it, it didn't exactly sound "great".

Hmm that wasn't so bad, just kinda there, the average Spider-Man score I guess. Reminds me of Tyler at points, like Marvel asked Giacchino to do the RC sound or something, at least he's trying something a little different I guess, but eh. I liked the middle "dramatic" part at least. For me, "Desplat" actually writes interesting scores a-lot of the time. Unlike Giacchino he doesn't rely largely on blockbusters, and is actually very versatile too.

Sabotage (1936) - 7 / 10

Inchon was years before Hellraiser so that wouldn't it technically be the other way around. Anyway good score, very different from Patton, the recording is of course infamously bad, but that didn't bother me as much as I expected it to.

True Lies has fantastic hilarious cracking dialogue, so can't say I agree with you there. I doubt Book of Henry will affect his Star Wars directing gig, unless he pulls a Josh Trank on set or something, a little seen soon to be forgotten in three weeks small film probably isn't going to get him fired from Episode IX.

It's a very good revenge western with terrific performances from the entire cast, and for being his only film as a director, Brando sure does a great job. I know some have argued it was also influential on some Western spaghetti's too. Interesting production as well. At one point Stanley Kubrick was set to direct and Sam Peckinpah worked on the script, of course neither ended up happening, but hey the movie we got isn't half-bad either.

One Eyed Jacks - 8 / 10

I'm sure / hopeful that Spielberg can make something entertaining out of the film regardless of the material.

Rabbit & Rogue - Danny Elfman - Pretty fantastic ballet from Elfman. Chaotic but also beautiful at the same time.