Naïve Old Fart

The 1970 version with Duel

Why?  You ask why?  Why does the phone always ring when you're in the bathtub?

Even today, no other film looks like it. Just take any 5 second sequence and you would never mistake it for any other film. And the tone is also completely its own. I'm still surprised how they were able to pull off such serious and pompous delivery of the dialogue without it ever becoming ridiculous. It's something else

John Alvin painted the map used in the teaser trailer
 

 
 
 

You haven't?
You should. 
Actually i think every jwfanner owes it to him/herself to watch the movies for which these scores were specifically composed for.

Also, what inspired Jim Titus to use John Alvin's unused poster art for the cover:
 

 

There is indeed. But it is frustratingly uneven film

Midnight Run - bounty hunter Robert DeNiro has to bring embezzlin' Mob accountant Charles Grodin from New York to LA, but naturally things don't go smoothly.

I hadn't seen this late 80s buddy action comedy since its VHS release ... still a very entertaining movie, 30+ years on. The 2 leads are a hoot, and the supporting cast includes Yaphet Kotto, Joe Pantoliano and Dennis Farina.

I don't believe the labels have the rights to release anything other than a redbook audio CD.  If they were allowed to release a 5.1 release, I doubt the investment it would take to make that happen would ever be recouped by sales, even a big title like Harry Potter.

I have zero interest in Dune. - Richard
That makes two, of us 

I read up on this after I posted. There are a few theories. 
 
One is that Martia kept her yellow eyes as Kirk. That's an iffy explanation because the footage is not clear enough to see if one Shatner was wearing yellow contacts. 
 
Another is because Martia removed her shackles when she shrunk down to a child size. This was well before the fight with the real Kirk, who was still wearing his shackles. We see the difference when he knocks her back before she changed, and then a few times during the fight in overhead shots. The idea would be that the Klingon commandant would know that a human could not escape shackles, but a shapeshifter could. This theory is weak because Nick Meyer did not pull the camera back far enough for us to see that the commandant could also see the lack of shackles before vaporizing her. The shot was just waist up.
 
The most solid theory is that since the the shapeshifter (in her Martia form) is "naturally" shorter than Kirk, she points "up" at him when telling the commandant to shoot. Kirk, instead, points straight across. 
 
Honorable mentions: Klingons are supposed to have an extremely keen sense of smell (Birthright, Pt 2). This theory is weak because S4 of DS9 shows how easily better shapeshifters can easily fool the entire Klingon hierarchy for months. 
 
Last theory: The commandant was going to kill both of them anyways and just shot one first. 

Since she can change her appearance at will, it stands to reason she can control her voice mimicry as well. What good is shapeshifting if you cannot change your voice? 
 
She uses her Martia voice while pretending to be the large alien brute to show our heroes that it's her. But she uses Kirk's voice to complete the ruse because she is legitimately trying to fool our heroes and escape.  I still don't understand how they know to shoot the imposter. 

I'll add three scores, to this list:
 
1: PSYCHO
A "stripped down" ("black and white", if you will) score, that brought to the fore just how terrifying film music could sound, and how indelibly linked music could be, to what's happening onscreen.
 
2: A HARD DAY'S NIGHT
Ok, so there were song scores before this, and there were rock 'n' roll films, before this, but this elevated the songtrack to a new, and vital level, and paved the way for everything from CATCH US IF YOU CAN, THE GRADUATE, YELLOW SUBMARINE, and LET IT BE, to THIS IS SPINAL TAP, and beyond.
Of course, it helped that the songs were written and performed by the greatest rock/pop group that will ever exist 
 
3: JAWS
This took what PSYCHO had done, and put it into orbit. No other piece of film music is as evocative, and as sheer bloody memorable, as the first two notes from the Main Title. It's a masterful portrait of the primitive, and it preys on people's fears, to this day. A truly effective, and influential piece of work, which did exactly what it says, on the tin: scare the heebegeebees out of people.

I guess that how a film has "improved", depends on different reasons: what's come after it (comparing and contrasting); people's personal circumstances; increased knowledge of the film's history, and place in contemporary (and, for that matter, current) culture; rediscovery of the film following a prolonged absence.
I saw RAIDERS OF THE LOST ARK many, many times, in 1981, and upon subsequent reissues, but seeing it in IMAX, in 2012, brought to me a renewed appreciation for the film.
*****/***** then, and definitely *****/***** now. It's one of the supreme achievements in popular cinema, in the last fifty years.

Last half-century, so that would mean 1970-2020?
 
In terms of game changers, it's not enough to list great or 'classic' scores. It has to have had some sort of impact and influence, whether on the industry as a whole or within a particular genre, for example. As such, I do find several examples listed in this thread so far not quite there, IMO (or they are, in fact, the result of a previous, more game-changing influence).
 
I have a lecture on film music history that I've done many times over the years. It goes back all the way to film's beginning in the 1890s, but if I were to list what the 'game changing' scores in the period asked about here were, these are some (primarily US cinema -- I have a separate section on alternative cinema):
 
A CLOCKWORK ORANGE (1972)
 
Carlos' "Switched on Bach" album had been a huge success in the classical/electronic crossover area, not to mention the popularity of the Moog, but it became iconic with CLOCKWORK and opened up a whole new arena for electronic film scores.
 
STAR WARS (1977)
 
Re-popularized the neoromantic style (note I say re-popularized, it didn't re-introduce the style, as many people claim - as that particular style never went away)
 
HALLOWEEN (1978)
 
Carpenter's stripped-down, beat-based synth music has had an immense influence, especially in recent years. See STRANGER THINGS below.
 
MIDNIGHT EXPRESS (1978) 
 
The dawn of the pop producers doing film scores, MIDI technology and synergy effects (such as the "Call Me"/"Chase" reuse)
 
BLADE RUNNER (1982)
 
It took some time before this influence took hold, but the broad synthscapes eventually became a stalwart of sci fi, in particular. And the organic mix of sound effects and music.
 
TOP GUN (1986)
 
The main theme is really the "prototype" of the power anthem that Zimmer would later develop and popularize. Also symptomatic for the early days of a hit song that would sell soundtracks (it was not the FIRST to do this, this goes back all the way to stuff like HIGH NOON and "Do Not Forsake Me", nor was it the first in the 80s, but it's very much part of that trend).
 
EDWARD SCISSORHANDS (1990)
 
Everyone was doing Elfman's "magical" SCISSORHANDS sound for a number of years, even ads (Elfman himself has said he was so tired of hearing the SCISSORHANDS in commercials that he just decided to do them himself at some point).
 
BASIC INSTINCT (1992)
 
The go-to sound for erotic thrillers for a number of years.
 
THE PIANO (1993)
 
While minimalistic music had been around for decades, and Philipp Glass is really THE main influence on a lot of film music to this very day (we wouldn't have Max Richters, Abel Korzeniowskis or Dario Marianellis without him), one could argue that it was Nyman's THE PIANO that truly popularized the idiom. His Greenaway scores were never popular enough to have that kind of impact.
 
THE ROCK (1996)
 
The four cornerstones of Zimmer's influential 'power anthem' style are BLACK RAIN, CRIMSON TIDE, THE ROCK and the PIRATES movies. But it was truly popularized with THE ROCK, the gateway into film music for a whole new generation.
 
AMERICAN BEAUTY (1999)
 
Everyone was doing the 'quirky' marimba Newman sound for years to come, even Elfman in the DESPERATE HOUSEWIVES theme.
 
GLADIATOR (1999)
 
Composers like Mychael Danna had been fooling around with wordless, middle eastern-sounding vocals for years, but it was Zimmer -- along with power anthem stylings -- that popularized it. Any given historical epic in the years that followed used the GLADIATOR template.
 
THE BOURNE IDENTITY (2002)
 
Completely revolutionized the action genre. The power anthem was drawing its last breaths with the PIRATES movies, and in comes Powell -- a former Zimmer pupil -- and boils it down to a steady ostinato with slight chord modulations on top.
 
INCEPTION (2010)
 
I'm convinced even Zimmer adhered to Powell's stripped-down action sound when he did the BATMAN movies. He built on this further with INCEPTION, which became a huge reference point. A more lusher, rhythm-based sound than Powell's.
 
STRANGER THINGS (2016)
 
Neither the first, nor the best synthwave score, but one that has had the greatest exposure and influence in recent years.

No wonder this guy is one of the most popular musicians on rym (number of total ratings towards the artist.) Just relistened to a brief collection of his. Every bit is unique and enticing to artsy folk!
 
 

Fixed!

Oh, that Mastermind!
There was a very popular TV programme, in the UK, called Mastermind.
I love the photo, on the box: 70s chic, at its chicest.
Ok, you get the board and the black, and white, pegs out, and I'll set up the code 

Oh, that Mastermind!
There was a very popular TV programme, in the UK, called Mastermind.
I love the photo, on the box: 70s chic, at its chicest.
Ok, you get the board and the black, and white, pegs out, and I'll set up the code 

I didn't know that Bose made these.
 

What was the last film I watched?
A seminal mid-80s "teen" comedy, that can be enjoyed, by anyone, at almost any age. It's, also, one of the best films of the 80s.
Period.
Starting with a sharp, witty, and well-observed script, this film has pitch-perfect performances, by all the principals. Throw in some nifty side roles, sharp editing with nary a shot that outstays its welcome, a killer sound/songtrack, and confident, but unobtrusive, cinematography, and direction, and you've got 105-odd minutes of great cinema, that still surprises and delights almost 35 years later. Watching it, I felt like I was being reunited with a long-lost friend.
'Tis a pity about the car, though 
 
*****/*****

There is a chase sequence in 'The Bourne Supremacy' through Berlin that was a geographical riot, too. 

Reminds me of watching the "A-Team" movie in a cinema in Cologne, Germany. When an aerial shot of Cologne central station came up (with the cinema I was in just barely out of frame), subtitled "Frankfurt, Germany", the room bursted out in laughter.
 
Definitely getting the expanded "Legends of the Fall". I only know "The Ludlows" from a Horner sampler, but always loved it.

What the hell am I looking at? When does this happen in the movie???

For any fellow Voyager fans:
 
The actors who played Tom Paris and Harry Kim are starting a new podcast where they go through all 7 seasons called "The Delta Flyers: Journey Through Star Trek Voyager with Tom and Harry."  The first episode will come out in May.   I'm excited about this!
 
https://trekmovie.com/2020/04/17/garrett-wang-and-robert-duncan-mcneill-are-launching-a-star-trek-voyager-rewatch-podcast/