HunterTech

When he ripped it in 2021, the titles weren’t on BSX’s website.  The titles he has are slightly different.

A bit harsh, but I do concede that a movie that ends with it saying that men should be allowed to be their own people instead of following every masculine stereotype is anything but emasculating to men.
 
(That, and nothing will ever be as cool as the whole "I'm Just Ken" sequence.)

Possibly, but I find this "men just can't be men anymore," thing some Cowardly-Lion-Archie-Bunker bullshit. Punching down is part of addressing privilege. I don't think mens' standing in the world will be effected, or affected, by the Barbie movie.
 
And trigger warnings exist so that people with legitimate trauma can decide whether or not to engage with that piece of media. It is not the woke police trying to raise a world of squibs.

Nope. It's the same artwork as on the website, which meant whoever submitted them to whatever database Stark used had to make up titles for them.

So me and @Stark have been discussing this anomaly, and discovered that if you purchased the score around at least February 2021, then chances are: you already have these tracks! And they're pretty much exactly what the titles say they are, so I guess we'll find out soon if this is another A.I. situation or not.
 
Given I would've recently gotten the "original tracklist" version from one of Lukas Kendall's several collector sales, I am a bit peeved that this now another BSX release where I bought it before a slightly more expanded release popped up (or at least was made aware of this being something that has happened).

Nope. It's the same artwork as on the website, which meant whoever submitted them to whatever database Stark used had to make up titles for them.

So me and @Stark have been discussing this anomaly, and discovered that if you purchased the score around at least February 2021, then chances are: you already have these tracks! And they're pretty much exactly what the titles say they are, so I guess we'll find out soon if this is another A.I. situation or not.
 
Given I would've recently gotten the "original tracklist" version from one of Lukas Kendall's several collector sales, I am a bit peeved that this now another BSX release where I bought it before a slightly more expanded release popped up (or at least was made aware of this being something that has happened).

I thought the Doctor Strange choice was more odd. If Jackie Chan could play a stereotypical kung fu master in The Karate Kid, I am sure they could have casted a Asian to be a mystical leader. I mean, they did it anyway with Wong and Mordo (stereotypical black mystic). 
 
Regarding Dune, I think since the story took place on another planet, Villeneuve got it right for having a mixture of ethnicities. With that said, I do get the point about casting more MENA actors. Yes, if they did that, there will still be criticism, but that is not really the point. The point is, at least MENA actors would have an opportunity to be in a world-class Hollywood film. 

"Waaiitt I still function" 
 
"Wonna bet!" 

The trap I fell into when I listened to Afterlife the one time is that the call backs were so meticulous in their faithfulness that they basically prevented me from really paying attention to a lot of the new material, which resulted in a bit of an uneven listen. Part of the reason might be my continued lack of familiarity with the period the score is blatantly calling back to, so anything else pretty much went over my head.
 
Frozen Empire, on the other hand, definitely has more of the Gia/Tyler approach, wherein you can recognize the general thematic material, but the orchestration more matches the sensibilities of the new composer. As such, it made it a lot easier for me to appreciate this as its own thing, even if some of the reprises barely registered as such (one quote in particular left me scratching my head as to if the main melody was even being attempted there).
 
The one thing I will give to Afterlife is being clearer in establishing motifs, as I was very quick to pick up on at least one recurring idea despite what I mentioned earlier. FE, while remaining plentiful in its Bernstein use, seems to have more trouble in really establishing some concrete new identities. There's one that I think is there, yet it could just be 3 cues that happen to hit similar emotional beats.
 
Still, I thought it was a pretty fun listen overall. It's not often a score can leave me feeling a little swept up on a first go (especially a new one), yet I think it achieved that in a few places here. Especially "In the Fabric of the Universe," which seems oddly cosmic feeling for this franchise, yet it definitely worked in a manner not too dissimilar to Dana's theme from the first. The action material isn't exactly remarkable, but there's definitely touches of creativity within the orchestrations in areas. Really, I just wish we did have more material akin to that last track, since there's heart and sincerity here that's been lacking in a lot of Hollywood scores these days (and dare I say even Afterlife to a degree).

The trap I fell into when I listened to Afterlife the one time is that the call backs were so meticulous in their faithfulness that they basically prevented me from really paying attention to a lot of the new material, which resulted in a bit of an uneven listen. Part of the reason might be my continued lack of familiarity with the period the score is blatantly calling back to, so anything else pretty much went over my head.
 
Frozen Empire, on the other hand, definitely has more of the Gia/Tyler approach, wherein you can recognize the general thematic material, but the orchestration more matches the sensibilities of the new composer. As such, it made it a lot easier for me to appreciate this as its own thing, even if some of the reprises barely registered as such (one quote in particular left me scratching my head as to if the main melody was even being attempted there).
 
The one thing I will give to Afterlife is being clearer in establishing motifs, as I was very quick to pick up on at least one recurring idea despite what I mentioned earlier. FE, while remaining plentiful in its Bernstein use, seems to have more trouble in really establishing some concrete new identities. There's one that I think is there, yet it could just be 3 cues that happen to hit similar emotional beats.
 
Still, I thought it was a pretty fun listen overall. It's not often a score can leave me feeling a little swept up on a first go (especially a new one), yet I think it achieved that in a few places here. Especially "In the Fabric of the Universe," which seems oddly cosmic feeling for this franchise, yet it definitely worked in a manner not too dissimilar to Dana's theme from the first. The action material isn't exactly remarkable, but there's definitely touches of creativity within the orchestrations in areas. Really, I just wish we did have more material akin to that last track, since there's heart and sincerity here that's been lacking in a lot of Hollywood scores these days (and dare I say even Afterlife to a degree).

The trap I fell into when I listened to Afterlife the one time is that the call backs were so meticulous in their faithfulness that they basically prevented me from really paying attention to a lot of the new material, which resulted in a bit of an uneven listen. Part of the reason might be my continued lack of familiarity with the period the score is blatantly calling back to, so anything else pretty much went over my head.
 
Frozen Empire, on the other hand, definitely has more of the Gia/Tyler approach, wherein you can recognize the general thematic material, but the orchestration more matches the sensibilities of the new composer. As such, it made it a lot easier for me to appreciate this as its own thing, even if some of the reprises barely registered as such (one quote in particular left me scratching my head as to if the main melody was even being attempted there).
 
The one thing I will give to Afterlife is being clearer in establishing motifs, as I was very quick to pick up on at least one recurring idea despite what I mentioned earlier. FE, while remaining plentiful in its Bernstein use, seems to have more trouble in really establishing some concrete new identities. There's one that I think is there, yet it could just be 3 cues that happen to hit similar emotional beats.
 
Still, I thought it was a pretty fun listen overall. It's not often a score can leave me feeling a little swept up on a first go (especially a new one), yet I think it achieved that in a few places here. Especially "In the Fabric of the Universe," which seems oddly cosmic feeling for this franchise, yet it definitely worked in a manner not too dissimilar to Dana's theme from the first. The action material isn't exactly remarkable, but there's definitely touches of creativity within the orchestrations in areas. Really, I just wish we did have more material akin to that last track, since there's heart and sincerity here that's been lacking in a lot of Hollywood scores these days (and dare I say even Afterlife to a degree).

The trap I fell into when I listened to Afterlife the one time is that the call backs were so meticulous in their faithfulness that they basically prevented me from really paying attention to a lot of the new material, which resulted in a bit of an uneven listen. Part of the reason might be my continued lack of familiarity with the period the score is blatantly calling back to, so anything else pretty much went over my head.
 
Frozen Empire, on the other hand, definitely has more of the Gia/Tyler approach, wherein you can recognize the general thematic material, but the orchestration more matches the sensibilities of the new composer. As such, it made it a lot easier for me to appreciate this as its own thing, even if some of the reprises barely registered as such (one quote in particular left me scratching my head as to if the main melody was even being attempted there).
 
The one thing I will give to Afterlife is being clearer in establishing motifs, as I was very quick to pick up on at least one recurring idea despite what I mentioned earlier. FE, while remaining plentiful in its Bernstein use, seems to have more trouble in really establishing some concrete new identities. There's one that I think is there, yet it could just be 3 cues that happen to hit similar emotional beats.
 
Still, I thought it was a pretty fun listen overall. It's not often a score can leave me feeling a little swept up on a first go (especially a new one), yet I think it achieved that in a few places here. Especially "In the Fabric of the Universe," which seems oddly cosmic feeling for this franchise, yet it definitely worked in a manner not too dissimilar to Dana's theme from the first. The action material isn't exactly remarkable, but there's definitely touches of creativity within the orchestrations in areas. Really, I just wish we did have more material akin to that last track, since there's heart and sincerity here that's been lacking in a lot of Hollywood scores these days (and dare I say even Afterlife to a degree).

It's definitely an interesting pick. I certainly appreciated how varied Nope was in its sound, even if the standout track was one that he'd already written years prior:
 
 
 

"I ate the whole plate. The whole plate!"

"I ate the whole plate. The whole plate!"

"I ate the whole plate. The whole plate!"

Down to a negative Clemmensen review that complains about that very thing!

Wasn't it KFP2 where Powell ended up quitting early on after getting fed up with director interference? that could explain it.
 
(Personally, I like KFP2)

Happy for Neve but Spyglass can choke.

I don’t think there’s an understanding there of what a “trigger warning” is - it’s not a warning for a rando moviegoer to not watch due to the content (that’s what the MPA rating system is for, which she is not critiquing).  It’s a no-effort courtesy to people who are legitimately impacted by whatever is being warned about (and the rest of us can blissfully ignore).

"I've got better things to do tonight than die" 
Springer, Transformers The Movie - Flint Dille 

Because 80 years of source material means nothing for further adaptations? It's not the big blue boy scout's fault WB keeps refusing to go past the same few elements that have dominated most Supes films at this point.

The first is the only one that fully reuses the original OST cover, so it manages to look the best as a result.
 
The second just needs a font change to look decent. The third..... well, you already know.
 
 
That definitely is a difference in manufacturer, given you will occasionally see a few CDs across the past few decades have that on there randomly.

Because mutants totally haven't been an allegory for the outcasts of society for most of their history 
 
(I legit can't fathom how people sincerely think this franchise has never tackled those subjects, as if the opening of the first movie/First Class and the one scene from X2 doesn't exist)