Matt C

Anyone else reckon Patty Jenkins is kinda cute?

I was surprised by how enjoyable this score was. Definitely more lush and orchestral -- and Zimmer mostly avoids the harsh sound design that pervaded his work on his most recent movies.
 
There's a sense of adventure, playfulness, pathos and romance in this score. Really accentuates the better parts of the movie for sure.

Wonder Woman 1984
 
It's certainly bigger and louder than the first movie, but not necessarily better. Returning director Patty Jenkins tailors it as a self-contained story (although a mid-credits scene hints at what's to come), but it gets bogged down with an unnecessarily convoluted plot device. Kristen Wiig is hot AF in this movie, but badly miscast as one of the main baddies. Her character is badly developed, as is Pedro Pascal's Max Lord.
 
What really saves it is leading lady Gal Gadot, who maintains effortless charm and charisma as the titular role. Her sparks with Chris Pine are almost as good as the first movie, and the action scenes are riveting (not as good as the No Man's Land sequence). Hans Zimmer delivered a nuanced and mostly orchestral score that hearkens back to his fun mid-to-late '90s Media Venture days. No dreary Nolan/Snyder soundscapes here. 
 
The movie starts and ends well, with great stuff in the middle and sluggish plot filler throughout. Hopefully Gadot and Jenkins can reunite and finish a third WW film on a strong note.

Having watched the movie and listened to the OST twice, I can confidently say that this is one of my favorite scores of the year.
 
It has everything that made me fall in love with Zimmer's music way back in the 2000s. It is unabashedly melodramatic and mainly orchestral with some Journey to the Line-esque vibes that made its way into Gladiator, Pirates of the Caribbean, King Arthur, The Last Samurai, Prince of the Egypt, etc. Great use of synths as well.
 
I haven't been so emotionally touched by a Zimmer score since Interstellar. I just hope Zimmer will return to score Wonder Woman 3, if only because this franchise allows him to be so old-fashioned and dramatic.

I've been on a Young kick recently.
 
Listening to his two Monkey King scores -- just beautiful and rowdy in a fun way.

I think Kathleen Kennedy will have veto power over who Patty Jenkins wants to score Rogue Squadron. There's no way Zimmer or RGW will score it, unless they write it in JW's style.
 
This is an exciting project. I think Patty can nail it, just like she did with Wonder Woman.
 
Maybe John Powell can come on board. He did a GREAT job with Solo.

Aunt May looks damn fine

Molina's return has me excited. And Dunst's for some reason.

I'm worried that Jon Watts won't be able to transition from wannabe John Hughes comedy to a more serious tone with this film. Not have it be all serious and mopey but ease up on the Holland Peter hijinks.
 
I really want to see Holland have a good rapport with Maguire and Garfield.

Not that I'm opposed to this, but WB is going to lose a LOT of money on their big titles (especially WW84, The Suicide Squad, Dune and The Matrix 4).
 
It would not surprise me at all if WB reduces the length of their theatrical and HBO Max strategy if things significantly improve for theaters by summer 2021. 

THE MASTER was dreadful as was Phoenix.

And to think that Snyder actually broke the mold by delivering a unicorn - a midbudget action R rated blockbuster priced at a mere 60 million yet earned half  a billion dollars with 300.
 
Why not make movies like that, at better price point.
 
Think Joker. Made at 55 million pricepoint and made a billion. Apparently Todd Philips the director took him over 200 mil for it.

It's the finest score Danna has written. In terms of quality, it's up there with Williams' Home Alone in terms of great Christmas scores.

Home Alone 2: Lost in New York - John Williams
 
85% of it is copy-and-pasted verbatim from the original score (much like the film's screenplay). There's some attractive new themes, like the Pigeon Lady, but it's too much of the same ("Setting the Trap" and "We Overslept Again" could've just been tracked in from the first film).
 
Stick with the original. Do a 10 minute suite of HA2 and stick it in your track list.

I don't think doing nine figure movies is sustainable in the long run for streaming services. And there's only so much they can  increase monthly pricing before people cancel. Netflix, Disney+ and HBO Max might do the occasional splashy big budget film rollout -- but the bread & butter are their original series. Folks are subscribed to D+ for shows like "The Mandalorian" and their MCU limited series like "Loki" and "WandaVision."
 
People crave social gatherings and when they can congregate safely after the pandemic, moviegoing is going to ramp back up. There's going to be pent-up demand for theatrical releases.

When MV mentioned Fox titles, I'm hoping we might get an extended Kamen X-Men release as part of the Black Friday titles.
 
An underrated score. 

If SM-3 gets a proper CD release, it'll probably be from Intrada.

Wow, I can't believe JW finally approved not one, not two, but six albums for The Sugarland Express! Oh boy

When MV mentioned Fox titles, I'm hoping we might get an extended Kamen X-Men release as part of the Black Friday titles.
 
An underrated score. 

I can't believe she's 61. She still looks amazing.

Over the Halloween season we bought some old 1990s TV animated special called The Halloween Tree which had a downright lovely score by Debney - so much so that I searched for a legit release that I could buy (which doesn't exist).  There was globehopping so there was some different music for places like Egypt, Mexico, etc., and some stuff that sounded very Shirley Walker/B:TAS in tone.  No clue if it suffered from temp track love which is typically my big Debney complaint, but I thought it was a pretty good kids' movie score. 

Ah yes, the one with militarizing dinosaurs. What a hoot! One of the characters pitches a dinosaur as being a "living tank" only for me to think: y'know, I'd think I'll just take a tank: it shoot things and you don't have to ride ontop of it.
 
Another case of a director bringing their A-game to a Z-grade script.

I was too busy drinking in the glorious photos and footage of Ms. Page. Her life story is certainly full of twists and turns.
 
The score did its job, I suppose.

Something Wicked This Way Comes (both Horner and rejected Delerue score)
 
I still like Horner's score better but Delerue's was no slouch. The melodies he wrote for this film were beyond reproach but obviously weren't what the studio wanted. I would've loved to see Jack Clayton's director's cut with Delerue's score restored.
 
Horner's replacement score is more on-the-nose (like the scary music), but it fits the movie better. The smaller ensemble, plus the pristine album mixing by Simon Rhodes, makes for a great listening experience.

It wastes Claudia Kim's talents. I was expecting her to play a powerful witch in the Ministry or a Hogwarts professor.