Gurkensalat

It is in principle similar to Audyssey which is offered by many receivers, but much more precise. Similar to the Anthem System ARC, which I have and which was the biggest improvement to my system prior to buying Ohm Walsh speakers.

I hope for an adaptation on the level of the "His dark materials" series, which do the books justice while taking some narrative freedom and partially even expand on them. 

I have no idea if you have read the books, but I'm perfectly prepared to accept HBP works fine as a movie. As an adaptation, it's questionable.

He'd bloody better! 
Jackson has been dragging his feet for so many years. 
Just wasting his time on Hobbits and Beattles, for reasons I cannot even begin to fathom. 
And I LIKE The Hobbit films. 
But not even remotely on the same level as TINTIN!
 
Please let the rumours of him doing a LotR sequel of sorts be false. 
Yes LotR is epic. 
But no, I don't need more than what we're already getting with RoP.
 
Tintin on the other hand...?
We haven't even met Professor Calculus yet, for crying out loud! 
That's a CRIME, that is.

Take it for what it's worth, I guess
 
 

https://en.wikipedia.org/wiki/Temeraire_(series)

It’ll be far more interesting to listen to a potential LOJW interview with MM on this one!  Can’t wait to hear the nuggets of insight.

I'm stunned that this actually happened. Based on listening to it once or twice before, I'd say it's one of my least favorite JW scores, but it has such phenomenal historic value that I don't know if I can resist. And it's always nice to support these folks' efforts, especially on the releases that seemed impossible for so many decades.

My assumption is that Mike has been trying to get things off the ground for years, but Disney is just dragging their feet.
 
Mike is like an energetic kid that just wants to go outside and play, and Disney is the out of shape, middle-aged father that just wants to sit on the couch and watch TV for "a few more minutes". 
 
I think the only way they'll ever happen is if JW himself makes the request, similar to Powell and Giacchino getting their scores expanded.
 
In other words, what we need is a mother to step in and tell her husband to get off his lazy ass and take their kid to the park.

I'll be honest, there are a number of other scores both from JW and others that are higher on my holy grail list for an expansion, but nevertheless a JW release from LLL is always cause for celebration. Nice that this historic score now has the deluxe treatment.

Although Williams’ score never received a prior album release, the 50th anniversary of his historic partnership with Spielberg, along with a revisitation of the film for Universal Studios’ new 4K restoration, yielded the proper conditions to at last create an original soundtrack

 
2027, Mike! We're counting on you!

Thank you for the accolades, but I must respectfully disagree with your opinion. In no way I wanted to say that Indy 5 is a bad score, just that its few imperfections show the massive strain of such a work load on a 90+ year old composer. On the contrary I find many of Williams scores of the last 20 years to be among my favorites. I just wanted to impart my opinion that it would be too much to expect another 2h plus big score from Williams at his age. 

I'm going to piggyback off this, one of the best comments I've seen on this forum in years. I know you're referring strictly to "Big" JW scores in this case, so in a very modern way, I would in no way want to take your post out of context. But you're absolutely right. Now we'll go strictly into my unrelated opinion. 
 
DOD was a total disaster. For a decade now these pitiful JW scores have been one-and-dones, and a chore to get through at that. Even the Galaxy Edge track at 5 minutes was a pathetic slog.
 
This will be met with nothing but disdain and pitchforks, but JW should have retired 20 years ago. Goldsmith was taken by cancer and Horner exploded in a horrific plane crash in the desert, but they both exited the field before they'd outlived their usefulness, as Kirk and Spock would say.
 
Modern Williams should be relaxing and watching baseball games, not putting out this forgettable mediocre autopilot dreck that shouldn't even be associated with the guy who composed Superman, Jaws, E.T., Raiders, bloody Amazing Stories "The Mission". 
 
I've had a few drinks, but this is how I truly feel. I'm sorry to those who are triggered.

I fell for JW's during the magical time of the 70s and 80s, and his level of originality and freshness were out of this world, but the ensuing decades have been damn good.  Leaving his concert music to the side, which I think has gotten increasingly better, with the violin concerto being an absolute powerhouse of a piece, Tintin, his pastoral music in War Horse, the flute work in BFG, Rey's theme and variations in the films, the ESPN Championship piece, The Airport/Battle of Syracuse/Centuries Join Hands (particularly film versions) are genius pieces from an actively genius mind.  

When I look at discussions like parts of this one I am always amused by these obvious double standards in evaluating Williams' work.
John Williams lives with this "always the same" and "autopilot" accusations for 50 years now.
And if there are five minutes in a score copied from another place in the score or even a previous score, then some fans get outrageous, the same who praise other modern scores where these kinds of repetitions, copy paste, plagiarism and ghostwriting are much more obvious, often in company of much less original ideas.
 
How come, that people, and even fans are so overly critical with Williams recent work (at any point in time, since the 90s his best work is always at least ten years ago)? And on the other hand works of other composers seem to be regarded much more benevolent? I don't get it.

My experience couldn't be more different. Some of my absolute favourite Williams scores and cues are from the last 20 years - and that's the consensus within my circle of friends as well. To each their own, but "pathetic slog", "forgettable mediocre autopilot" and "a chore to get through" doesn't describe anything Williams has done in my book.

I agree that this is my least favourite of the sequel trilogy scores. I guess in some of the “less interesting” underscore cues, Johnny was trying to match the level of dullness, confusion and lack of direction depicted on-screen.
 
The biggest misstep of this score IMO (and maybe the only one out of the whole Skywalker saga) was the decision to give Rose a proper theme. She does not deserve one in terms of her role in the story and the sweetness of the music doesn’t really match her characterisation (which is 1-dimensional and lame in the film). The fact that she’s not even in Episode 9 and Johnny isn’t able to reprise it makes its outing here feel pointless (just like the film in that regard). 
 
However, I disagree that the album is a 77-minute snooze fest. The opening Escape cue is fantastic (IMO demonstrating more intricate and better-paced action writing than any cues in TFA), and I really like Luke’s Island theme. Additionally, the variations on Rey’s Theme, Kylo Ren and March of the Resistance are nice to hear as well. 
 
And this one has the best recording and clarity of sound (without harshness) of all three sequel scores.

I would love another big Williams score, but when I look at the Indy 5 soundtrack, for which he had to resort to copying old works to fill in the blanks despite having lots of time due to the constant delay of release, I don't think that he has a big action wall to wall score in him any more. Once you get that old, the energy level just goes down and everything takes much more time. But on the other hand if this movie is more of a kind like Fabelmans or the Post, requiring no wall to wall scoring, he might still be able to pull it off, if he really wants to do it and it really happens in the next 1-2 years.
 
By the way, what I would really like is him writing another Tintin score, but I think that window of opportunity is passed, even if another Tintin movie will be made one day.

Musically I found "Always" always a missed opportunity for Williams to return to his 60s romantic comedy style as the movie is somehow in that spirit.
But somehow Williams was in the mood for this spheric sugar plum keyboard sound, that doesn't do that much for me.
I like the more vital parts a lot. and the expansion has a few of the greatest alternates of any Williams expansion.
And I still prefer the expansion without the pop songs. But I usually skip the first tracks. Otherwise I tend to fall asleep.

Bumping the thread to showcase the new recording.  I find the two performances comparable, but the recording quality of this one is obviously much higher. 
 
 

The humour in Ragnarok is almost always about character. 
 
In Ragnarok, there's a play depicting Loki's death. It's hilarious, but it tells you absolutely everything you need to know about Loki: he craves affection from his brother and father and has no idea how to go about it. Loki's arc and relationships are completely set up in that scene.
 
In Love and Thunder, there's a play scene depicting the events in Ragnarok because...people found the play scene funny in Ragnarok.
 
To me, the difference in those two scenes sums up the movies. Ragnarok is never laughing at Thor. He has a good story, learning to not make the same mistakes of his father while learning to lead. Loki, Valkyrie, Korg and Banner/Hulk's little arcs all revolve around Thor - he helps them all to become better people.
 
Love and Thunder laughs at Thor. He takes nothing seriously and is completely inept a lot of the time. The style of humour is similar in both movies, but the context is entirely different.

I would love another big Williams score, but when I look at the Indy 5 soundtrack, for which he had to resort to copying old works to fill in the blanks despite having lots of time due to the constant delay of release, I don't think that he has a big action wall to wall score in him any more. Once you get that old, the energy level just goes down and everything takes much more time. But on the other hand if this movie is more of a kind like Fabelmans or the Post, requiring no wall to wall scoring, he might still be able to pull it off, if he really wants to do it and it really happens in the next 1-2 years.
 
By the way, what I would really like is him writing another Tintin score, but I think that window of opportunity is passed, even if another Tintin movie will be made one day.

This movie was awesome. That is all.

Watched this (for the second time) in the cinema last month. And gotta tell ya that's the best way to see it. 
 
It's interesting to hear that the reviews where positive, I've always heard it was poorly received or at least that was the impression I got. 
 
A general sentiment is Willie's really annoying, which I agreed with, but after watching with an cinema audience and everyone laughing at just how over the top she is it clicked into place that that's the point of her. The juxtaposition between not only her and Indy but Marion as well makes her more memorable, that she's not just a copy of Marion and a completely different character who arguably has something of an arc in this film. 
 
Then there's of course Short Round, the chemistry between Ke Huy Quan and Harrison Ford comes through their performances so naturally. That you really feel that Indy cares for this little pickpocket. 
 
Also like the film the score was something that I only really appreciated after the various leaks had been combined and @rubisetcie put out their version and it was in this most complete form that I have been able to really enjoy it. 
 
As for what I'll do, well an Indy marathon (of just the first 3) and probably a revisit of the scores as well.