Naïve Old Fart

Without a doubt SS,'s  worst are 
1  A.I. wretched film witb perhaps the worst female performance in SS film.
 
2.Always, Always belongs on this list, Always. If you remake a film make it better than the original not worse.
 
3. Hook. Total disaster. 
4 Big Fucking Giant. SS once said his effects are better than Avatar. Yeah No. I still can't believe I saf thru this.
5. A.I. so bad it makes the list twice.
 
Munich dishonorable mention. A snuff film
 
 
 
 

How about 'glorified Smurfs'? 

Compared to modern stuff, the OST of CE3K sounds like shit, but in 1977, it's all we had.
 
 
Better recording studios, better engineers, better mixing desks, better microphones, better placing of microphones, better mastering techniques, and the main reason: the DG recordings were meant to be heard, and not be buried under all those sound effects, and dialogue.

Indeed.
Once one has tasted filet mignon, it's rather hard to go back to cheeseburgers.

In germany I can recommend the books of Dimitar Inkiow, a Bulgarian writer who retold many of these greek legends. Quite entertaining.

I had the pleasure of attending a live to picture performance of Things to Come (1936) with the London Symphony Orchestra playing Arthur Bliss's amazing score at the Barbican yesterday.  Both the film and score are two of my absolute favourites and I never dreamed that I would one day be able to witness the whole score played live to picture.
 
The film opens with the London Films logo and it was great to hear one of the percussionists play the logo music - essentially the chimes of Big Ben - on the tubular bells!  For those of you familiar with the score, the LSO also played the Christmas carols heard near the beginning of the film (with the choir heard on the film soundtrack) and gave us the whole of the famous march to lead into the interval.  Better still, at the end of the film the orchestra played the entire Epilogue music, one of my favourite pieces of film music ever.  Frank Strobel conducted.
 
Interestingly, the film itself had subtitles only for the sequences in which dialogue is underscored, while the scenes without music played without subtitles.  The film is scarily prophetic, predicting war in Europe, helicopters, a global pandemic, the European Union, the moon landing and even smart watches and tablets.
 

It might be "ordinary", Bes, but the dragon is fucking brilliant.

According to Dragonslayer's Wiki page, its 'violence, adult themes and brief nudity' caused some controversy at the time what with it being a Disney production. 

Show us any other 80s film with a George Harrison credits song!

Dragonslayer is another 'how did that pass me by at the time?' movie. Must keep an eye out for a TV screening or something. 

When it comes to 80s fantasy, Time Bandits knocks a lot of it into a cocked knight's helmet. Yes.

He's never supposed to be. It's not even a Luke Skywalker journey to becoming the hero he always could be. He's never meant to be the one that heroically slays the dragon. And he isn't.
 
Whether you think it's a good movie or bad, it's not a "fun" movie. And it isn't a "fun" score.
 
I suppose it's an anachronism in that you put it up against it's contemporaries and it has no retro swash to it's buckle. It's a serious score at a time when most action adventure was putting its tongue more firmly in cheek.

That’s one thing that makes North a brilliant choice.  I don’t know if it was on purpose or not but it’s a profound reflection of the story: one Epoch giving way to a new one. The Age of Wizards, dragons, and magic ending, in favor of Christianity and other beliefs.  In this case it was the end of North giving way to the post Star Wars era of film music. 
 
It reminds me of Rosza scoring Time After Time. An old fashioned story rooted in the past, using a composer from decades earlier for one last hurrah. 

Peter Macnichol was just fine. I didn’t care for his permed hair, but I thought he was a suitable Mark Hamill surrogate. 
 
I think @Bespin is using anachronistic in place of of old-fashioned, as it was late in North’s career, and he had peaked in the 60s, not 80s.  And I sort of get it, because his sound is so unique, it can’t be called old-fashioned like, say Rosza or Bernstein, because it’s a bit more unconventional and never IN-fashion.  So, I get that it is out of place with its 80s contemporaries’ more tonal harmonic fantasy stuff like Goldsmith, Horner, or even Trevor Jones. 
 
Anyway, here’s a pic of my Dragonslayer stuff. 

But there’s really something to it. It needed time for audiences to grow into it, and you can’t watch it without admiring at least some of it.  It gets a lot of discussion, and I think it’s because it’s so unique for it’s time and genre. 

It might be "ordinary", Bes, but the dragon is fucking brilliant.

It might be "ordinary", Bes, but the dragon is fucking brilliant.

It might be "ordinary", Bes, but the dragon is fucking brilliant.

Aaw. A beautiful score from a beautiful film.

But they’re also movies about a guy in a hat who’s spooked by snakes, so like who cares?  People give these franchises a lot more mythological weight than they deserve.

Imagine thinking ToD is one of Spielberg's worst movies when The BFG exists.

I really can't think of much to like about it.  I think the only scene that doesn't bother me, and the only one that feels genuine, is in Indy's house where they're talking about Henry Sr. & Marcus passing. 
 
I think part of the problem for me is that I've discovered, whether it's via prequels or sequels, I don't like the demystification of things better left to the imagination. I didn't need to see Han Solo as a washed up deadbeat dad; I didn't need to see a Luke Skywalker who's dejected and given up on life...I didn't need to see everything they fought for in the Rebellion made moot. I don't need to see my fictional fantasy heroes get old and bitter. I didn't need to see how badly Neo & Sarah Connor ended up. I didn't need to see the clone wars or the forging of the Rings of Power...those things played a lot better in my imagination. Hell, I don't even like the Harry Potter epilogue b/c I don't need to know that Harry, Ron & Hermione become boring, middle-class government bureaucrats. 
 
Some things are just better left alone.
 

Anyone other than me who, despite its apparent flaws, think KOTSC still has many redeeming qualities, and as such is underrated?

I would agree but I think many here would think otherwise

That's me 
 
 
 
I never liked WAR OF THE WORLDS until I started working with children, then I saw the film for what it is: the story of a man desperately trying to reconnect with his family.
It's a very touching film, and all three principals are pitch-perfect.

It's a crying shame that NIGHTWING doesn't get more love.