Edmilson

It's in portuguese, but if you look it up you'll probably find some of these in English too.
 

 
Loose translation: "No problem with the fact of The Irishman being a 3h30 movie. But I don't want to watch a movie about three straight white older men directed by a straight white older man."
 
Yep, that's the state of movie discussion on Twitter on 2019.

As I said, Pacino reminded me of Ciaran Hinds, but yes, Pesci absolutely was Morricone.

It's better than Conductor Emeritus 3D, for sure, but not as good as the surprising fourth part of the saga Conductor Emeritus IV: The Revenge.

This release will only remind me of how great Arnold was (or is) as a composer, and that he should be scoring more Hollywood big budget movies  

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This is one reason why I love LLL's C&C releases.  They actually put the FILM VERSIONS in the main body of the score with the proper label.  Then put the ALTERNATES of the film versions as bonus tracks. 

I really wish Varèse would have put the film version tracks for Air Force One in the main body of the score.  Although except for "The Hijacking", having that cue on the release is totally unnecessary. 
 
I'm really looking forward to hearing this complete release. It's another one (along with AFO) that I've been wanting in complete form for years.

Iam a big fan of the Maint Title too. Its like a massive firey fugue. I just love it.

Agreed! I already tried to watch the film three times but I always give up. 

That's a pretty interesting discussion! I personally classify Williams' career like this:
The late 1950s to the mid-1960s: The jazzy era, as he was still Johnny Williams. The mid-1960s to the early 1970s: Beginning of film scoring career and early successes specially with director Mark Rydell Early 1970s to 1975: The "music for the disaster movies of Irwin Allen" era From Jaws on 1975 to Temple of Doom on 1984: The apex of his career as a film composer, on which he wrote some of his most beloved and iconic scores.. From The River on 1984 to Far and Away on 1992: The "trying new stuff" era. Not wanting to be known just as a action/adventure composer, William scored movies from more diverse genres such as Empire of the Sun, The Witches of Eastwick, Stanley & Iris, Always, Far and Away, along with the Oliver Stone movies and the Home Alone movies (which, despite their success at the box office, were less "fantastical" than most of Williams hits so far). More traditional blockbusters besides the HA movies were only The Last Crusade and Hook. From Jurassic Park on 1993 to The Patriot on 2000: An era on which Williams planted the seeds for later works, whether on action adventure movies (the JP franchise, The Phantom Menace, The Patriot) or on smaller drama movies (Nixon, Saving Private Ryan, Amistad, Seven Years on Tibet) From A.I. on 2001 to Munich on 2005: The era on which Williams music has a distinct, more modern sound. His music was introduced to a new generation with the Potters and Prequels, but they remained different from his 70s/80s classics, much like his dramatic stuff had a new, distinct flair (A.I., Minority Report, Memoirs of a Geisha, Munich). From The Kingdom of the Crystal Skull on 2008 to today: The later era of Williams music, that is a little more subdued, a little less "show-offy" and maybe a little more intimate. What do you guys think?

That's a pretty interesting discussion! I personally classify Williams' career like this:
The late 1950s to the mid-1960s: The jazzy era, as he was still Johnny Williams. The mid-1960s to the early 1970s: Beginning of film scoring career and early successes specially with director Mark Rydell Early 1970s to 1975: The "music for the disaster movies of Irwin Allen" era From Jaws on 1975 to Temple of Doom on 1984: The apex of his career as a film composer, on which he wrote some of his most beloved and iconic scores.. From The River on 1984 to Far and Away on 1992: The "trying new stuff" era. Not wanting to be known just as a action/adventure composer, William scored movies from more diverse genres such as Empire of the Sun, The Witches of Eastwick, Stanley & Iris, Always, Far and Away, along with the Oliver Stone movies and the Home Alone movies (which, despite their success at the box office, were less "fantastical" than most of Williams hits so far). More traditional blockbusters besides the HA movies were only The Last Crusade and Hook. From Jurassic Park on 1993 to The Patriot on 2000: An era on which Williams planted the seeds for later works, whether on action adventure movies (the JP franchise, The Phantom Menace, The Patriot) or on smaller drama movies (Nixon, Saving Private Ryan, Amistad, Seven Years on Tibet) From A.I. on 2001 to Munich on 2005: The era on which Williams music has a distinct, more modern sound. His music was introduced to a new generation with the Potters and Prequels, but they remained different from his 70s/80s classics, much like his dramatic stuff had a new, distinct flair (A.I., Minority Report, Memoirs of a Geisha, Munich). From The Kingdom of the Crystal Skull on 2008 to today: The later era of Williams music, that is a little more subdued, a little less "show-offy" and maybe a little more intimate. What do you guys think?

Personal story: the Main Titles of The Towering Inferno is my dad's favorite John Williams theme.
 
That's because this is the first movie he watched by himself on the theaters when he was a kid, and Williams' music left a great mark on it. 

Well, there's only three completed MCU trilogies so far, considering The Avengers as a quadrilogy. So:
The Iron Man trilogy is okay, I like the first one, dislike the second and find the third one mildly amusing and fun to watch. The Captain America trilogy is pretty good: The First Avenger is decent, The Winter Soldier remains as one of my favorite MCU movies and Civil War is good, although slightly overrated because of that airpoirt scene. The Thor trilogy is not that good: Thor is forgettable, The Dark World is one of the worst MCU flicks and only Ragnarok is good, although still overrated by the fanboys. Let's see how the Guardians trilogy and the Tom Holland Spidey trilogy will compare agains these ones when their third movies get released.

That's a pretty interesting discussion! I personally classify Williams' career like this:
The late 1950s to the mid-1960s: The jazzy era, as he was still Johnny Williams. The mid-1960s to the early 1970s: Beginning of film scoring career and early successes specially with director Mark Rydell Early 1970s to 1975: The "music for the disaster movies of Irwin Allen" era From Jaws on 1975 to Temple of Doom on 1984: The apex of his career as a film composer, on which he wrote some of his most beloved and iconic scores.. From The River on 1984 to Far and Away on 1992: The "trying new stuff" era. Not wanting to be known just as a action/adventure composer, William scored movies from more diverse genres such as Empire of the Sun, The Witches of Eastwick, Stanley & Iris, Always, Far and Away, along with the Oliver Stone movies and the Home Alone movies (which, despite their success at the box office, were less "fantastical" than most of Williams hits so far). More traditional blockbusters besides the HA movies were only The Last Crusade and Hook. From Jurassic Park on 1993 to The Patriot on 2000: An era on which Williams planted the seeds for later works, whether on action adventure movies (the JP franchise, The Phantom Menace, The Patriot) or on smaller drama movies (Nixon, Saving Private Ryan, Amistad, Seven Years on Tibet) From A.I. on 2001 to Munich on 2005: The era on which Williams music has a distinct, more modern sound. His music was introduced to a new generation with the Potters and Prequels, but they remained different from his 70s/80s classics, much like his dramatic stuff had a new, distinct flair (A.I., Minority Report, Memoirs of a Geisha, Munich). From The Kingdom of the Crystal Skull on 2008 to today: The later era of Williams music, that is a little more subdued, a little less "show-offy" and maybe a little more intimate. What do you guys think?

One of my top 5, maybe top 3, compositions by JNH:
 
 

Cool Japanese (?) trailer:
 
 
So far I guess there'll be two major action scenes on the movie: some chase at the desert planet, involving the main heroes and some First Orders stormtroopers, and including the Rey backflipping scene and the "They fly now!?" line; and the last battle at this massive stormy planet, with Rey and Kylo confronting themselves and then the Emperor, while the other non-Force wielding characters involved on a dogfight with the First Order ships.

This release will only remind me of how great Arnold was (or is) as a composer, and that he should be scoring more Hollywood big budget movies  

That is a real disaster of a movie indeed.

This release will only remind me of how great Arnold was (or is) as a composer, and that he should be scoring more Hollywood big budget movies  

They left out Indiana Jones 4.

Personal story: the Main Titles of The Towering Inferno is my dad's favorite John Williams theme.
 
That's because this is the first movie he watched by himself on the theaters when he was a kid, and Williams' music left a great mark on it. 

This release will only remind me of how great Arnold was (or is) as a composer, and that he should be scoring more Hollywood big budget movies  

So essentially Lucasfilm did exactly what WB should have done with David Yates and the Harry Potter franchise.
 
Lucasfilm: "So, Rian, we want you to direct the next Star Wars movie, are you in?"
 
Johnson: "Sure, great! But I would like to use my cousin and composer Nathan Johnson, he is relatively unknown but I think he'll work".
 
Lucasfilm: "No way! John Williams wrote iconic scores for the Star Wars saga, and he'll continue to do so until we say otherwise. We already conviced him to not only score Episodes VIII and IX but also write a few themes for Solo and Galaxy's Edge. So, you either find a way to collaborate with him or you're fired!"
 
Johnson: "Okay..."
 
Meanwhile:
 
WB exec: "So, David, we want you to direct the next Potter movies, are you in?"
 
Yates: "Sure, great! But I would like to use my composer Nicholas Hooper, he is relatively unknown but I think he'll work".
 
WB exec: "Yeah, whatever. He'll charge us less than John Williams anyway, so, more money for us to spend on VFX and the marketing campaign!"

Thanks to post this on black Friday mate!