Fancyarcher

After Howard is fired, Kennedy might hire James Comey. Afterall he has been a director before and is currently available.

Aww. That's a good score, from a much -maligned, but not-bad-actually film.

Well this thread went to shit. 

Ah, yes, good ol' Ebert still reviewing movies from beyond the grave....

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The Secret of NIMH by Jerry Goldsmith. The score is a masterpiece... but I'm not fond of those songs.
 
Set set piece is just great:
 
 
Karol

What if he's just preparing to play a character who retires from acting? 

Yes there was an impact.  I recoiled in disgust when the Rogue One title card came up.

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 think there is a creative issue when you announce you're creating a universe before the first movie is even out.  That calculated planning does not bode well for the individual project at hand.  While Marvel was obviously banking on the success of Iron Man to launch their MCU, at least that movie felt like it was serving itself.
 

2010 - David Shire - Really quite good, one of the better all electronic scores of the 80's I've heard so far.

God I do miss Pete Postlethwaite. 

Zimmer's score for MOS and BVS is exactly the kind of issue I have with modern superhero scoring and scoring in general. He makes fine themes, but his underscoring for both films is full of largely noise and irritating Junkie XL electronic, not my cup of tea really. 
 
I suppose it could be worse though, like Jackman's work for The Winter Soldier. Shudders! 

WITNESS is, probably, the best of the lot. MAIN TITLE/JOURNEY TO BALTIMORE is cosmic.
I've also got a soft-spot for WARGAMES, BLUE THUNDER, RUNAWAY, and THE MOSQUITO COAST.

2010 - David Shire - Really quite good, one of the better all electronic scores of the 80's I've heard so far.

Likely Peter Hyams, who originally hired of all people to do the music, Tony Banks, but they had a falling out. If you watch the film though, much of the music is dialed back quite a bit anyway. Personally I really like the music because while it is very 80's, it does manage to create quite the atmosphere at points too, and I'm a fan of the sound. Of course it has nothing on the original in terms of actual music, but it's good. 
 
On that note, 2010 and Short Circuit are the only Shire scores that I'm aware of that are largely synth based, unless I'm mistaken. 

The synclavier is all there of course, but I find its use effective. The album and film are actually different though. The music in the film was actually quite restrained, while on the album it seems to strangely more "beepy / melodious", which was Shire's original intent. 
 
BTW apparently according to an interview with Shire in 1985, the reason why Hyams wanted a electronic score was because he "felt the score needed a bit of the “other-worldliness” that electronic realization would evoke", so in that sense I can understand why he went with that type of music, well that and it was the 80's. 

Zimmer's score for MOS and BVS is exactly the kind of issue I have with modern superhero scoring and scoring in general. He makes fine themes, but his underscoring for both films is full of largely noise and irritating Junkie XL electronic, not my cup of tea really. 
 
I suppose it could be worse though, like Jackman's work for The Winter Soldier. Shudders! 

La Pella - Lalo Schifrin - Found this while searching online. It's an obscure Italian film with a score by Schifrin, written during what I consider the composers most varied period. It's great, with a sweeping main theme, some dissonant strings, and old-timey source material, as well as classical music references. The original album is short but apparently the music was re-released in Spain in 2006, running at over an hour in total as well. Good stuff!

Yes, indeed. A powerful film, acted brilliantly.

In The Name of The Father - 8.5 / 10

Giacchino just posted this. Maybe we get a glimpse of his actual theme. It sounds heroic enough, though I'd obviously like to hear it in full. 

If his "main" theme is that melody that starts at 0:28 in the video...it doesn't sound super promising.  But yes, I will reserve judgment until I hear it in context.