Charlie Brigden

I like SPIDER-MAN 2 a lot, but it loses points with the romance, as it doesn't work at all for me, and I don't feel like Peter should be pining over someone like MJ. I am a big fan of HULK though, and X2. I think BEGINS probably is at the top though. I hated it at first, but I grew to love it. SPIDER-MAN 3, though... what a travesty.

I haven't heard much of BATMAN & ROBIN but I like his stuff for FOREVER. One of the best examples I can think of with an excellent score scoring a terrible film.

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I get utterly bored by Elfman's BATMAN(S), so JW would be a welcome change of pace.

The earliest I can remember is listening to "Into The Trap," on the ROTJ read-along cassette while playing with my Millennium Falcon, probably in about 84. That's the first time I remember actually paying attention to music, and to John.

For me, it seems the most generic. Some of it works great, but a lot of it feels either like there was no passion in it, or it was shoehorned in to try and make a typical "Star Wars moment." The movie has a lot to with it, as there is little to nothing in that whole movie that's anywhere near interesting, so I think it was probably the hardest score for John to write. I like "Across the Stars" a lot though. I just wish it had a better picture/love story to score.

Goldsmith for STAR TREK: GENERATIONS. I like the score, and some moments are very good, but I would have liked to have seen what Jerry could've done with it. Probably because I'm so enamoured with the TMP theme, and with it being so prominent in both the TNG series and Kirk's first movie adventure, I missed it a lot. Especially since it was used in the trailer.

I agree, and that's even with me thinking that people go too far over how bad they say AOTC is. After actually listening to the complete edition, I've actually grown to like NEMESIS a lot more than I used to.

That's certainly one way of putting it.

I didn't say the score was boring. I think it's excellent. Most disagree. But that was never part of my argument.

http://www.starwars.com/vault/collecting/n...080709.html#rss 32 tracks, 67 minutes. I guess the next question is whether it's any good or not...

KING KONG (05) Man, this has lost a lot for me, to the point where I skipped half the film. So much of this is extraneous, to the point where I looked at the timer on the DVD player and it was running 2h:12m and they hadn't even gotten off the island yet! From when Kong breaks free it's glorious, but even that is a bit overlong. I hope for the sake of THE LOVELY BONES that PJ has realized every film doesn't have to be three hours long. As an aside, I noticed the latter half of "Beauty and the Beast IV" was tracked onto the scene where Kong is chloroformed. I guess seeing the film after knowing the score, that really stands out. The score is nice, and I like Kong's themes, but I do wonder what Shore had in mind.

I think it's probably the right score for the film, judging by what's been said. I think the same for BATMAN BEGINS, a score which - while I like it a lot - probably doesn't present that great a listening experience, but fits the movie like a glove. As mentioned earlier, the score complimenting the film is more important than the score as music on its own, and I think it might work that way, and as also mentioned earlier, I don't think styles such as Elfman's would fit the film (not that I'm a giant fan of Elfman's... aside from one or two tracks, I don't think it's anyway near the great piece it's talked about as). Although I do wish they maybe had tried to balance the more Nine Inch Nails-style with a more developed thematic score. On the subject, I still think Shirley Walker's BATMAN: MASK OF THE PHANTASM is the best Batflick score.

I like Winehouse, although the stuff she sings is generally your average Motown retread. "Valerie" is a great track though.

Can we have a spoiler ban on THE DARK KNIGHT?

No need to be sorry Joe, but I don't agree whatsoever. TTFAW is a fun little 50s sf but Carpenter's is an amazing piece of work. As for TCM... well, it's one of my favourite movies, so it's probably best to end this before it goes on forever.

I'm never excited for a Michael Bay film that doesn't have giant robots (and I don't like that anymore either). Still, NIGHTMARE could do with some improvements as it didn't really hold up last time I saw it. FRIDAY is just fine, a dirty low-budget slasher movie, it doesn't need to be anything more than that. I do wonder if it'll be ? Not sure why I'm putting spoiler tags around a 28 year old movie ending, but it's still fun when you find out if you haven't seen it already.

I disagree on both points! And Michael Bay only producing is a moot point, he set it all going and had a clear influence on it.

I never really liked the KD Lang song. Seemed like Bassey overload. Not that Crow's much better, but still... I gave STAR TREK: NEMESIS a burn. And y'know, I like it a lot. I like that it's almost like a full circle kind of deal with the TMP quotes (a bit like ROTS). I think I like it overall more than FIRST CONTACT, but it doesn't have a single new theme as that movie's main title.

That's pretty much my point of view, and as a big fan of TDTESS, a big reason why I'm railing against it (that and, in my opinion, all of my hyperbole aside, it really does look truly terrible). I mean, THE FLY or THE THING. Those are two great movies that are huge improvements over the original films because they reinterpret it. Even KING KONG (2005 but 1976 to a certain extent) because it put a new spin on the relationship between Kong and Ann (and Dwan). But 90% of remakes now are either to bank on the name recognition, or because Hollywood thinks audiences are too stupid to read subtitles. Take THE TEXAS CHAINSAW MASSACRE. Michael Bay remade that because of the infamy the name had, because it has an instant audience. It's no surprise, like most remakes, it turned out to be a tepid and pale recreation of the original.

I still think it's crazy we don't have that. You'd have thought maybe with the countless DVD boxsets of the trilogy they've put out, they might have released it alongside it.

I didn't like it at first. It took a few viewings for me to really bond with it, and now I think it's an excellent film with some flaws. I did take someone as a date to it, so it might have been why I didn't connect with it first time around.

I agree, incredible score. Love Damien's theme, but "The Second Coming" and "The Final Conflict" are just awesome. I read in the Varese DE liner notes that five minutes were cut from "The Final Conflict" for the original album. Can't imagine that cue being cut down like that.

We all see with different eyes. Whatever it teased, I do not want to be anywhere near it.

Explanation: An empty, dull trailer with acting straight out of PLAN 9, an aesthetic of what can only be described as beige, and an overall atmosphere of as much dramatic gravitas as when Carol Vorderman repeats the letters on Countdown.