Naïve Old Fart

You're right, Joe; it's a powerhouse of a score. Among his finest.

Aye, these things aren't cheap!
 
Karol

"Shamus"? There's more than one Shamu?!

I rather think talentless hack is more appropriate. Any fool that wants a nickname like that isn't getting my consideration.

There are actually quite a few great scores on my top 10 this year that come from bad films! So it still happens!

I don't think so. It's far from being Tom's best score, but it's certainly a lot better than it could have been in more generic hands. Listened to the album, and it fared better than when I saw the film. The score is certainly not the film's problem.

So...I've just rewatched IT TAKES YOU AWAY. 
WHAT THE ACTUAL HELL???!!!
Flesh-eating moths, a giant red balloon light thing, Granny 5, the Solitract (?), the Nexus, and a talking fucking frog?! Have they completely lost the plot???!!!
The only thing good about it was the dad's Slayer t-shirt.

I leave for lunch, and this thread goes mad!
Naughty fellas, eh?

The violins bit killed me. 
 
Karol

I've loved THE MISSOURI BREAKS ever since I bought it on vinyl, in the Summer of '76. It was such a shock, after JAWS, but it alerted me to the sheer versitality of JW. Remember that in those days, there were no DVDs, or videos, to rewatch endlessly, no complete scores, and both MIDWAY and FAMILY PLOT OSTs wouldn't be released for donkeys years. Happy days!

You Know My Name is without any doubt my favourite Bond song. Closely followed by GoldenEye. And it's the other way around regarding the movies. Martin Campbell rocks!

You go, girl.
I don't remember much about the score, but James Woods is pretty good, in the film.

The Sweet, Simple Reason Julie Andrews Isn't in Mary Poppins Returns

It's not bad, at all.
It reminds me of the Ford Anglia music, from COS, which is no bad thing, nor a criticism.
Is that Drew Struzan artwork?

Connery cared deeply about the huge amount of money he was making!

Lazenby is a weak Bond, but the film itself is superb.

Oh, pardon. Az you can 'ear, my Engliz iz not good, too.
 
We zink, ziz means somezing. We zink eet iz important.

Ok, this is a tricky one. IV seems to be the Marmite score of STAR TREK, and not without good reason.
While I generally like Rosenman's "atonal" stuff (BENEATH THE PLANET OF THE APES; FANTASTIC VOYAGE), I really don't think that it works, here.
IV is a conventional fish-out-of-water yarn, set to a science fiction backdrop, with a firm ecological message - "learn to respect the planet, or else mankind will die".
Added to that, there's an almost-romance, some nice character moments, and, behind the camera, great (and Oscar nominated) photography and sound.
Then there's the music...
With so many elements, and mini-stories, it needed the score to pull all of it together. Taken on their own, the cues are set-pieces, rather than parts of a cohesive whole. There's no "journey" to go on, no "story" that the music tells. It's just "there".
Still that didn't stop Rosenman earning himself an Oscar nod, and the film becoming the most successful STAR TREK film ever released. Somebody did something right.
Taken on face value, I like it, but I can't help thinking that IV would be a much deeper and richer film if Nimoy had swallowed his pride, and allowed Horner to complete his TREK trilogy.
 
Ps, I'm with @Thor: MARKET STREET is the best track on the CD.

Margaret Thatcher, in THE IRON LADY.

and the 1925 version as well. 

Believe you me, @phbart, it was. When I saw SUPERMAN, for the first time, on its opening weekend, in London, it was the most exhilarating film I'd ever seen. I loved it then, and I love it now.

Believe you me, @phbart, it was. When I saw SUPERMAN, for the first time, on its opening weekend, in London, it was the most exhilarating film I'd ever seen. I loved it then, and I love it now.