Naïve Old Fart

Correct.
All Bond films, from DR. NO  to THE MAN WITH THE GOLDEN GUN, were remixed in 5.1, especially for the D.V.D. (and subsequent Blu Ray) releases.
From THE SPY WHO LOVED ME onwards, the Bond films were in multichannel, and it is those mixes which were retained for the D.V.D.s/Blu Rays.
Make no mistake: THE SPY WHO LOVED ME is definitely in 5.1 
Now, here's where it gets interesting. Officially, the first Bond film released in stereo, at the cinema, was ON HER MAJESTY'S SECRET SERVICE, but the first Bond film to be mixed in 5.1 for D.V.D., was THUNDERBALL. This all happened on a previous release, when all other Bond films from DR. NO to THE MAN WITH THE GOLDEN GUN retained their original mono mixes. Strange, that, isn't it.

Excuse me Alex?!
I was not 6 when I watched the Dalton Bonds. I wasn't even 6 when I saw my first Bond film, at the cinema.
 
Although Dalton will always be my favourite Bond, THE SPY WHO LOVED ME, is, IMO, the best all-round Bond film. It's wildly entertaining, and it's clear that, after THE MAN WITH THE GOLDEN GUN, EON had a rethink about what makes a good Bond film. The switch back to 2.35:1 didn't hurt, either. It's pure spectacle.
 
IT'S THE BIGGEST IT'S THE BEST IT'S BOND AND BEYOND

 

If INDY V is shelved, it'll be the one good thing to happen, as a result of COVID-19.

Jerry, you should have seen TSWLM, at the cinema. Gorgeous!

Actually I was 16 and 18 when they were released. He's underrated; the 'more down-to-Earth' stuff that the Craigs get praise for is in Dalton's 2 in spades but the lukewarm box-office response to Licence To Kill suggests that audiences weren't ready for it then (the decidedly lacklustre marketing campaign wouldn't have helped either). 

I wish the legal ructions hadn't happened and he'd been able to do another 2 in '91 and '93 before Brosnan stepped in. 

The entire Bond series was released on D.V.D., in the 00s, each one as a 2-disc set, and each one with remastered sound and picture.
I'd recommend these. In addition, each film up to and including THE MAN WITH THE GOLDEN GUN has been remixed in 5.1.
Since THE SPY WHO LOVED ME, the original surround mix has been adhered to: no remixing. As for the Bond films that you are wanting: don't expect too much in dynamic 5.1. The Bond films have always sounded...adequate...when it comes to sound.
IMO, the best sounding Bond film, is TOMORROW NEVER DIES - and it has a 5.1 iso score.

I remember learning "Lean On Me" in elementary school chorus class.  Great song, great songwriter.

R.I.P. Bill Withers

It most certainly does.
 
It's indeed pretty good and INFINITELY better than that Zimmer-scored abomination.
 
Thunderbirds remains super, super cool.
Even if, sometimes, the stories really don't stand up to scrutiny.
 
Like that recent "Poseidon Adventure" episode.
Sure shows the dangers of undercrewing your ships, which is painfully realistic in this day and age.
But that tsunami as a threat in the middle of the ocean was COMPLETELY laughable.
 
What if I told you I myself actually survived just that?
True story. It was very epic. Definitely worthy of a movie.
 
It was in 2011 on the cruiseship Maasdam, off the coast of Costa Rica on the Pacific side.
We had been receiving tsunami warnings all night long, but without much detail.
Finally at 8 in the morning we received a list of the times various countries would be hit by it.
Half an hour later, I could tell my relieving officer that we'd have a tsunami for coffee time.
"Seriously?"
"Yes."
"Holy crap! Did you tell the captain?"
"No."
 
Who can guess how that story continued...?

Wow! Just wow!!
 
And to think I just finished watching the new, very kiddie version of the Thunderbirds only a few days ago.
Your version contrasts quite shockingly to that one...

Haven't I told you to stop telling lies?! 
(slap)

This one's for @Naïve Old Fart
 

 
 

Whoever she was, I must have scared the living daylights out of her.

Hurry up Chief daylights wasting....I see you got ya rubbers.

Ah! THE PIANO.

Stuart Baird never proved his worth, as a director (although I like NEMESIS), but, boy could he edit?!

I love it!

Carnivale Season 1
 

Blue! Water is blue  Like White is the one that’s all in winter.

Well said, @KK.
I, also, like this film.

I saw Schwabenkinder on TV at some point in the early 2000s. I liked the score then and put it on my Amazon wish list - it's been one of my earliest items on the list since then. I didn't remember much except that it featured a choir, but it had a series of price drops recently, so I picked it up. It's got some lovely melodies, rather Morricone style (think Legend of 1900), but it's all rather simple. Mostly melodies and string chords, with some sound effects in some tracks. For something that takes its choir hints and lyrics from liturgy (it has Benedictus, Agnus Dei, Sanctus, and Kyrie - in that order, curiously), the vocal writing is surprisingly homophonic (again, melodies with chords), and the notable vibrato of the choir and soloists is somewhat at odds with the etheral atmosphere the score generally goes for. And as a choir singer, I'm seriously annoyed by how Schneider changes the rhythm of the Latin word "pecata" to make it fit his melody.
 
In his liner notes Schneider mentions that the film was temp tracked with Angela's Ashes plus Albinoni and Gounoud, and that they made a conscious decision to go for a distinct Morricone sound. He mentions being influenced by Bach, which seems at odds with the homophonic character, but he then adds that they subsequently reduced and simplified the music, and that the simple themes were deliberate.
 
Still, while I suppose the whole things sounds nice enough, it doesn't really seem to hold much interested when divorced from the film.

The Double Life of Veronique
 
It's easy to dismiss this kind of thing. Barebones "plot", meandering characters and subplots and vague flirtations with the "esoteric". And yet, when you arrive at the end, it all works. It might not have the staggering confidence of Tarkovsky in how it handles sensation, but there is a great deal of feeling nonetheless. Largely in part to Kieslowski's excellent subject, the gorgeous Irene Jacob and the beautifully evocative colours that are captured on lens. Everything feels so utterly delicate and otherworldly. As an Americanized audience, one might be scratching one's head at a narrative through-line, or poke "holes" in its plot, but even then, you can't deny the film's images work over you as you follow Jacobs' antics. I would still argue that other filmmakers have fared better in tackling this kind of idea of "spiritual" interconnectedness, but I'll take this over another Cloud Atlas. Preisner's score, in typical Polish operatic-galore, is another great asset to the film.

For me her voice evokes a kind of nostalgic sadness. 

She's never had great voice, but, by golly, its sexy as hell ,
besides, anything with Gil Evans at the helm, deserves to be listened to.