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I'm halfway through the isolated score and honestly the music for the prologue is a little grating, just quotes of the previous Indy scores barely connected by some sense of musical narrative. I must say, Williams did a good job of condensing all the mess into the OST track, kinda like he did with the opening battle of TLJ (another musical mess) into Main Title and Escape.
 
But the score does get better after the rough beginning. Even the quotes of older scores (like Spyders) are more organically integrated. 
 
Edit: wow, the complete film version of the Tuk Tuk chase is awesome! It should've been on the OST, Conveyor Belt or not (and, like Chasing the Snitch, I'd argue it's still much more than just an AOTC rewrite).

Hollywood believes the best way to compete with shows is to make movies LONGER, whereas they should make them MORE COMPACT AND IMPACTFUL in my opinion

Before being replaced again by another score

At least Ridley’s scores usually get to be heard despite replacing some cues - with a Michael Mann movie there’s a 80% chance the score gets replaced by a new one!

The Christmas specials have always aired on Boxing Day in Australia. I'm fine with it, it was a big part of my family tradition to sit down and watch on Boxing Day night and I'm thrilled that it's finally returning.
 
As for the storm in a teacup that is Davros... Others have articulated my thoughts already; RTD made a decision that was entirely appropriate given the context of the short. In case people haven't noticed he has a strong working relationship with Ruth Madely (who is appearing in these specials); he's already putting his money where his mouth is when it comes to platforming differently abled actors.
 
Not too long ago mainstream films, television, and books frequently coded villains as gay or sexually "deviant" in some way, and that would likely still be the case if it wasn't for storytellers like RTD being vocal about it and -crucially - actually doing something about it by presenting queer stories and platforming queer actors. It's not virtue signalling if there's tangible action to go along with the awareness. I'm old enough to remember how much people complained about the queerness in RTD's first run, this is pretty much the same "controversy".

Imagine you're British, you have East Enders, Sherlock, and sometimes, yes, sometimes, you're the baddie in a movie. It's funny, you laugh.
Imagine you're in a wheelchair, you are not in anything, ever, all the time… until you are an evil creature.
 
That's basically the thing. Visiblity is so low for minorities, whatever the minority, that you cannot be just picked as "the villain" or "the guy who dies first all the time".

Imagine you're British, you have East Enders, Sherlock, and sometimes, yes, sometimes, you're the baddie in a movie. It's funny, you laugh.
Imagine you're in a wheelchair, you are not in anything, ever, all the time… until you are an evil creature.
 
That's basically the thing. Visiblity is so low for minorities, whatever the minority, that you cannot be just picked as "the villain" or "the guy who dies first all the time".

Imagine you're British, you have East Enders, Sherlock, and sometimes, yes, sometimes, you're the baddie in a movie. It's funny, you laugh.
Imagine you're in a wheelchair, you are not in anything, ever, all the time… until you are an evil creature.
 
That's basically the thing. Visiblity is so low for minorities, whatever the minority, that you cannot be just picked as "the villain" or "the guy who dies first all the time".

Imagine you're British, you have East Enders, Sherlock, and sometimes, yes, sometimes, you're the baddie in a movie. It's funny, you laugh.
Imagine you're in a wheelchair, you are not in anything, ever, all the time… until you are an evil creature.
 
That's basically the thing. Visiblity is so low for minorities, whatever the minority, that you cannot be just picked as "the villain" or "the guy who dies first all the time".

Yikes.

Pemberton is one of the most unique and interesting voices in film music right now.
Always bringi g something new

I am delighted the Dial of Destiny score exists. Is it one of the best scores of JW's career? No. Is it one of the best scores of 2023? Absolutely!
I don't put a huge amount of importance on the sentiment of his final score. It would have been The Fabelmans if SS started working on it a little later.
JW's career is filled with smaller dramas and epic blockbusters, so I actually consider it appropriate that his potential final two scores are from each genre.

We'll have to wait and see, if it ends up being a story set after Davros' accident

It's not 'wheelchair = bad' it's that in fictional media (don't know why you're bringing up the paralympics) there is overwhelmingly disabled/disfigured characters as villains which sends a certain subliminal message

Just got done listening to this the first time. The score certainly surprised me. Parts of it are unsettling, almost psychological horror like. There is no large scale orchestra anywhere, and no action cues at all. Either Scott took out a bunch of music or he used a lot more existing music than I thought. The vocals are the most interesting part...although they are also a bit strange I would say. Reminds me a little of Arrival. 

So just because you're not a fan of one score, it's all because of film music in 2023?
 
Sure, why not

Absolutely hated the prologue. 
 
And not because it looked funky at times. It absolutely did.  His face works some times but when it doesn't it's horrible. Don't get me started on using old man Ford voice.  And that running on the train and final showdown with the Nazi.  Just awful.
 
The prologue is completely antithetical to why this film series was even made. To pay homage to serials and using practical effects. 
 
If Raiders was made today with the intention to pay homage to those serials, would they have even thought of doing CGI?! Absolutely not.
 
Say what you want about KOTCS, but everything Indy does is a practical effect. (Waterfall stuff yeah yeah awful)
 
What's the point if we can do CGI Indy for 25 minutes? Loses it's luster. The core of these movies was always hanging on the fact that he's still ultimately an everyday guy doing outstanding things.  Prologue was just cartoony in a movie that wants to be deep and dark.  Fan service for no other reason besides Ford is too old now.
 
DoD was a mess.

You better listen to the good bits then.

Awhile back, I started a series of recommendations at Celluloid Tunes -- brief, one-paragraph reviews of new scores. Thought I'd share it here, for anyone interested:
 
Reviews-on-the-go # 1: https://celluloidtunes.no/reviews-on-the-go-1/ 

Covering WHO KILLED THE KLF? (Vincent Watts), TROPIC (Sebastian), L'UOMO CHE DISEGNÓ DIO (Giuliano Taviani & Carmelo Travia), ZODI ET TÉHU: FRÈRES DU DÈSERT (Mika), DER FUCHS (Aran Safaian).

Reviews-on-the-go # 2: https://celluloidtunes.no/reviews-on-the-go-2/ 

Covering TIN & TINA (Jocelyn Pook), BOY FROM HEAVEN (Krister Linder), L'ENVOL (Gabriel Yared), FIRE OF LOVE (Nicolas Godin), TOUCH OF CRUDE (Cliff Martinez), THE YOUTUBE EFFECT (Paul Haslinger), TETRIS (Lorne Balfe).
 
...and published today:
 
Reviews on-the-go # 3: https://celluloidtunes.no/reviews-on-the-go-3/ 

Covering EVERYBODY LOVES DIAMONDS (Ralf Hildenbeutel), CARMEN (Nicholas Britell), MAGNIFICAT (Nathaniel Méchaly), A THOUSAND AND ONE (Gary Gunn), LA CONTADORA DE PELÌCULAS (Fernando Velázquez), TRON: IDENTITY (Dan Le Sac).

Hot Take: neither of those things make a score good or bad.

"The Christmas Invasion" is my favourite Tennant story, by a country mile.
Second favourite is "Turn Left"/"Stolen Earth"/"Journey's End".

I've been listening to the score all week, and it's easily the best score of the year!

The opening few cues blur the lines between music and sound effects. I don't like it when scores do this, but what Sato is doing is more musical than trying to completely mimic a sound effect. I can hear basses sounding like air raid sirens and/or Godzilla's roar/growl. A there's something electronic as well that sounds like an atomic charge before Godzilla breathes hell's fire over everything!  

The score is perfectly mixed with the rest of the atmospherics so that Sato isn't confusing sound effects/sound design and music. The "bending" of certain sounds is cool to hear as well. This is shit lesser composers try to do and fail at miserably.

The cue "Divine" is Goldenthalesque goodness!  Again, the low end in this recording is beautiful!!!! Clean, deep and powerful! I can't recall anyone else but Zimmer who uses basses this prominently in a film score. I love hearing them at the beginning of "Elegy" as well. 

There's also stuff in here that reminds me of the unsettling and conflicting emotions of calm and horror in Bobby Krlic's brilliant score to MIDSOMMAR. The cue "Pain" is heartbreaking in it's simplicity. And John Adams' influences are felt in the brilliant cue "Resolution". Actually, nothing can really prepare your emotions for the one/two punch of "Pain" and "Resolution."  Holy F__k was all that came to mind while I was listening to them, so hold tight. It's a wallop! 

The only downside are the irresponsibly placed Godzilla suites, which absolutely kills the tone of the rest of the score. They are completely unnecessary and should really be deleted from the play list. If you want a true and proper first experience with this score, skip those suites.  Actually, never listen to them. They aren't needed! They are far too jaunty and whimsical for this score. This score is dark, bleak, foreboding, and deeply emotional.  It's a serious, dramatic score unlike anything you've ever heard in the Godzilla film. If you come to this score expecting to hear an Ifukube clone, then you'll be greatly disappointed!

Naoki Sato has always been one of my favorites (BATTLESHIP YAMATO, HEROIC AGE, MASQURADE HOTEL. MORIBITO: GUARDIAN OF THE SPIRIT,PRICELESS, etc) and his quality hasn't diminished. This is easily one of his best scores, and that's saying a lot because he has so many incredible, timeless scores attached to his name. I hope you all enjoy this score as much as I do and I cannot wait to hear this score in context when the film comes out!
 
-Erik-

The main mistake they did was green lighting so many side projects after Endgame. They should have stuck with 2 to 3 movies per year and not start making shows. The shows made the universe more complicated and didn’t lead anywhere and made it feel like homework for people. They should have let it be streamlined and slowly built towards a new phase without the multiverse gimmick.
 
I was a MCU fan during the first phases but after endgame I just can’t be bothered.p, though spider man nwh was great!

My brother paid more attention to this than I did, but when it rolled out the promise was "This is Disney, it will always be kid friendly, we have other places for R rated content."
 
 
The Capaldi era is my favorite.

There are some cracking Eccleston stories ("Dalek"; "Father's Day"; "The Empty Child"/"The Doctor Dances"; "Bad Wolf"/"Parting Of The Ways"). The one that I always come back to, is "Boom Town".

Joins Multiverse of Madness and Wakanda Forever in the 'sequel scores that all but abandon what was good about the first but are far more interesting to me' pile. Really digging this.