Naïve Old Fart

I also think that a woman breaking out of jail, and kidnapping her own son, is also pretty serious.

It waters down the novel, no end, and is heavy on the schmaltz, especially at the end.
Imo, like all his films, it has value, but it's not Premier League Spielberg.
 
 
 
 
Oops! Sorry, Thor .
Allen Daviau's cinematography is lovely.

Been searching for a nice digital Mancini compilation a little while ago. Now I go to the store to pick up my new tablet and this is just there on the shelf!
 

Well it's not there on the shelf anymore.

I'd agree, @Thor, but I would say that, Arnold is not an approximation.
Aside from The Guv'nor, he is the sound of Bond, and not any kind of imitation.
Martin; Hamlisch; Conti; Legrand; Kamen; Serra; Newman: they all have merit, but our Dave is a cut above.
He was recommended by Barry, himself, and recommendations don't come any better than that.

Well said! This was a score and film for me. I didn't grow up with Bond films (I think I saw bits and bobs on the telly or VHS in the 80s; wasn't my cuppa tea, even as a kid), I've never really liked any of Barry's efforts (again another sacrilege, I know, per the VERTIGO thread!), and GOLDENEYE was my first proper Bond film that I saw in the theatre. It also helped that I was and is a HUGE Serra fan. So everything lined up perfectly here. Including the awesome Tina Turner song.
 
As a Bond non-fan, it's interesting that I think various Bond sound approximations are more rewarding to me than the actual origin. For example, I dig Arnold's stuff very much.

No love for GOLDENEYE, Sweep?
I think that Éric Serra's score fits that particular film, perfectly. It's a score that is so anachronistic, for Bond, but, somehow, accompanies the first of the digital age Bonds, well.
Having said that, the guys at EON fell on their feet, when they found Arnold 

Oh, shit.
Oh, shit.
Oh, shit.
Oh, shit.
Oh, shit.
Oh, fucking shit.
Oh, fucking shit.
Oh, shit.
Oh, shit.
Oh, shit 
Oh, shit.
Oh, shit.
Oh, fucking shit.
Oh, fucking shit.
Fucking hell.
I am going to get killed.
Fucking hell, fucking hell, fucking hell.
I am going to get killed.
 

@Chen G., you're absolutely right. People seem to have a sort of false reverence for SL as if, by criticising it, one is criticising the Holocaust, itself.
Separation needs to be made between the event, and a fictitious play of light.

I most certainly did not switch
1941 is goofy fun. Nothing more, and certainly nothing less. It's silliness appeals to my right-sided brain. It's Spielberg kicking back, and taking it easy. It has absolutely nothing to say, but says it with verve, vigour, and, yes, quite a bit of style.
The extended version is my go-to version.
SCHINDLER'S LIST, on the other hand, is oh-so-obvious Oscar™ bait. It wants to be liked, it wants to be admired, it wants you to say "Oh, those poor, poor people. How could anything like that happen?". It wants you to cry over a little girl in a red coat, and you oblige, all-too willingly.
Well, I don't buy it.
I will happily admit that it is very well made, with production values that are second to none, but I'm just not drawn in, by it.
Imo, there are far, far better films about man's inhumanity to man, and far better pieces of entertainment about the historical treatment of the Jews (HOLOCAUST; SHOAH; HOTEL TERMINUS - heck, even MASADA is better).
I admire SCHINDLER'S LIST, but, in no way, shape, or form, can I like it.

Welcome, brother, to the (very) exclusive 1941 Fan Club.

Someone famous film maker should argue passionately in front of congress about film preservation. George Lucas, maybe?

I'm not a fan of Ant's attempt to jump on the '80s music bandwagon but if I had to choose one song it would be 'Going For Broke'. 

And it's not like this idea of preserving original cuts is new.  We've been at this for decades now.  Almost everybody is happy when the choice is there.  For audio especially, there's no excuse, since it takes up relatively little disc space to add another track.

Or Elmer Bernstein. 

Vertigo and PJ's King Kong in one breath ... Sigh!

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.

Why don't people get this? Are we really that weird for thinking this?

Whilst I doubt this'll go down the 'shot-for-shot' route of the Psycho remake, they'd do well to remember that that was pretty much universally derided as utterly pointless. 

I enjoyed Peaky Blinders, and also Knight's recent 'SAS : Rogue Heroes'. And his take on Great Expectations begins this weekend on BBC1. But a Hitchcock remake seems unwise.  

WHAT! THE! ACTUAL???!!!

No, no. Don't mince words, Sweep, tell us what you really think.

That 40 years from now very few people will care about Gladiator.

Wow. They exercised their Vermithrax Prerogative. 

Well, darn.