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who cares

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  1. Those are nice. Everything above them is fugly.
  2. This is one way to do it... http://www.youtube.com/watch?v=bVJdIeKvchQ...feature=related
  3. It would've been funnier if someone had taken all the footage of the judges and the people watching on their cell phones and laptops, and juxtapose that against William Hung's audition tapes for American Idol. She bangs, she bangs, oh baby!
  4. The Teenage Mutant Ninja Turtles. They fought evil-doers with cool weapons and attitude, helped elevate surfer talk beyond Bill and Ted, they taught kids about Renaissance painters, and they ate pizza. My childhood heroes.
  5. It's not THE greatest movie of all time, but it's certainly one of the greatest. It had everything going for it: a great novel as its base, with the author brought in to help write the screenplay; an outstanding cast; memorable moments and dialog; epic cinematography and music; and accessible themes of family that went beyond all the violence. The violence was important to the story, but the movie should not be dismissed solely based on violence because that's not the heart and soul of this movie. If you're gonna do that, scratch Lawrence of Arabia, Ben-Hur, The Wizard of Oz, and Gone with the Wind all off the list of contenders for greatest movie of all time, because they're all violent, too. As far as Godfather Part II being better than Part I, I just don't see it. Maybe I'm naive because I only saw Part II once and might not have been paying close enough attention, but I missed having Marlon Brando and James Caan in it. I will watch it again soon.
  6. Wouldn't the first movie in any film series tend to be more of a self-contained story than any of its sequels? If it does great, then you follow it up with sequels that take bigger risks with its characters, and introduce far grander storylines, and maybe even some hanging plot threads to be wrapped up in a potential third act? That way if it tanks, you don't alienate viewers even more with a crappy movie that doesn't even have an ending. Since Batman Begins ignored the Burton/Schumacher films as a reboot, it had to be its own character origin story, which left just about enough room for a few compact villains and a storyline to wrap it all up nicely. As with any comic book movie, there would always be the possibility of a sequel, since there would be dozens of issues to tap for movie ideas, and Batman offers these and more. Tack the nice ending on about the Joker's calling card, and you set yourself up for a sequel, TDK. Or if you don't make TDK or any other Batman movie, one could argue (and it's a VERY big stretch) that somehow, Burton's Joker Batman would be a nonlinear sequel to Batman Begins. That didn't happen because Nolan and friends "knew" that Begins would not flop, and so we have a potential trilogy on our hands. It's hard to pick. I saw Begins about three times and don't see the need to watch it again, and I will watch TDK again at least one or two more times. I think the way that Batman's voice was modulated to be even deeper than normal made me glad that he got less screen time in this one than all the other characters combined, because it really started to get irritating.
  7. I'd say some people here are outright blinded by their unwavering love for the Williams soundtracks, yes.
  8. Is Benjamin Riddle now the patsy for all people who love Zimmerian composition and hold it nearer and dearer to their heart than a more traditional Goldsmith style? His review of this score came right around the time that Gladiator came out, which was still years before Zimmer's scores to Pirates of the Caribbean became blockbusters in the record shops, but is still indicative of a great many people's attitudes toward film music. They find they like film music, but they like a particular style more than others. And if movies scored by Zimmer and his cronies are what they watch and like, and they go out and buy those soundtracks, but then they shape their opinions of other soundtracks around the Zimmer et al soundtracks. I'd just be happy the guy listens to film music, even if he does tend to bash the good stuff. There are enough other educated people who offer good reviews of these Goldsmith scores to outweigh the basher's comments. As long as there is an audience for that kind of wall of music sound, both in the box office lines and behind the camera, Hans will never run out of work in show biz. I just hope there will always be fans for the Elfman, Goldsmith, and Williams kind of sound, too.
  9. True enough. Nearly all movies have an antagonist, but antagonism alone doesn't turn a bad guy into a villain, regardless of greatness. True villains have evil in their heart and plan to do really evil things like kill, maim, and steal. Bullies just harass people until they're put into their place, as was Biff. And his misguided one-liners and misfortunes made him quite funny.
  10. Biff Tannen, and his ancestor Buford, make great villains in the complete Back to the Future trilogy/super-movie. I think Biff Tannen is a much better villain in Back to the Future, Part II, than in the first movie. He's rough around the edges in original 1985 and a big bully in 1955, but not really any more of a villain than any other bully ringleader in any other teenage movie. Especially because he bullies George McFly, who's portrayed as such an insecure and utter wimp to make an even more dramatic transformation into the new and improved post-knockout George McFly, that anybody with half an ounce of bad blood would bully him around too. But in Part II, Biff comes into his own as a villain. Since Part II begins with a modified an extended ending to Part I, we see his suspicion that there's something wrong about a flying DeLorean, although it takes him 30 years to catch up to it. It's impossible for him to suspect anything is "wrong" about the 1985 he accepts as real, after Marty tampered with the past, since only Marty has experienced both and thus knows of the permanent change to the timeline. But Biff is quick enough on his feet to steal Marty's idea of the sports almanac and go back in time to change the past, and set himself up as a rich mogul, knowing the results of every sporting game to place his bets. To do that, he had to learn how to use the time machine properly so he could visit the necessary moments in time and return without being noticed. Then his younger self kills Marty's dad and takes Lorraine for himself. I had mentioned that by going back to 1955 and giving his younger self the almanac, Biff cannot return to his "normal" 2015 without creating a paradox. Apparently he dies after returning to the real 2015, but this something either not on the VHS copy of the movie I grew up with, or I never noticed. I have the DVD but have been slow to watch Parts 2 and 3. Oh well, any movie with time travel creates paradoxes, and in this case, it's all good fun.
  11. Truly great band, moderately funny spoof video. But Led Zeppelin, The Who, and The Beatles trump any band that ever was.
  12. So was this. I think they're the subject of the song, too. http://au.youtube.com/watch?v=Vrd9p47MPHg
  13. Michael Corleone. Good natured college boy and war hero not interested in family business. Guns down police chief and mob gangster in public. Kills all his father's enemies in one swift move, while his godchild is baptized. Then has child's father killed. Lies straight to his wife's face. Has his brother killed for plotting against him. Cool and collected, calculating and cunning. If EZ-Pass had existed in 1948, Sonny Corleone would still be alive.
  14. The liner notes of the 1993 box set were very good, too, considering that at the time, that was the most complete edition of the scores. Based on the descriptions given, I made myself cassette editions that took disc 4 and distributed it correctly to the other three scores, and listened to those well into 1999.
  15. I'd like to see Danny Elfman score the next Pee-Wee Herman movie. Not sure that would be a remake, redux, or reboot, but I just wanted to throw that out there.
  16. One of my biggest regrets from college was not pledging one of the band frats like Kappa Kappa Psi, Mu Kappa Upsilon, or Iota Beta Kappa. Oh well, I guess
  17. How about a sequel where Elliot and his friends get kidnapped by evil aliens, and try to contact ET for help? In 1982, that was Spielberg's planned sequel for ET. Until he realized it was a really, really bad idea.
  18. I would think anybody writing new music for anything like Star Wars or Indiana Jones would be absolved for sounding too much like John Williams, for trying to keep a sense of continuity in those universes. Joel McNeely, Clint Bajakian, and Jeremy Soule would be among such musicians who would've been criticized for writing stuff that sounded nothing like Star Wars or Indiana Jones pre-established sounds.
  19. Give it up, Alex, saying ET is based on The Wizard of Oz is too unbelievable a stretch. The Wizard of Oz is a grand adventure story that takes place in a mythical country with fantastical beings that don't exist. The plot of ET never leaves Elliot's neighborhood, and the woods a few miles up the road isn't quite far enough away. Dorothy's in her predicament because she's already killed one evil witch, and in order to gain the help of the only person who can send her home, she now has to kill the other witch. Who does ET kill to go home? If I remember correctly, it's ET himself who almost dies, and that takes place after the signal to his spaceship had been sent, so they would still be coming for ET whether he was alive or not. While the bad guys in both movies are trying to stop the main characters from returning home, let's think about this for a moment. The bad guy in ET is the US government, and they set up quarantine around Elliot's house, and try to study ET, and barring that, they try to stop the kids from letting ET get away. They don't want to kill ET, they want to study him, and there's that Andromeda Strain fear of aliens carrying disease which could wipe out southern California, and a walking talking alien doesn't land in your lap every day. The bad guy in The Wizard of Oz, the Witch of the West, was a legitimate evil character who did want to kill Dorothy the main character, but she is quickly defeated with water. The US government in ET isn't defeated, it's thwarted as Peter Coyote watches ET escape, and the movie ends. There ARE sequels to The Wizard of Oz. They're the other Oz books that L Frank Baum wrote, like Dorothy in Oz, and Ozma of Oz. But none of them were ever filmed. And as far as remakes of The Wizard of Oz, it's seen several anyways. The Wiz was musical reinvention of it featuring Michael Jackson and Diana Ross. The Muppets had their own Wizard of Oz, and the Sci-Fi channel made a miniseries last year with one of the Deschanel sisters. And for the record, DeMille's color The Ten Commandments with Heston was a remake of his own black and white The Ten Commandments from the 1920s.
  20. We can sit here all day and argue about which movies stitch together better as a giant single-movie epic, which will usually boil down to Star Wars vs The Lord of the Rings as it always does. Your statement is not a good supportive one because of a technicality. The Academy annually awards Oscars to movies that came out in the previous year. Not to film series, which span years. If Star Wars 1-6 was one complete movie, why is Lucas releasing a seventh movie that is basically Star Wars Episode 2.5? The original topic wants to know the longest film score. Neither Star Wars nor The Lord of the Rings qualifies, no matter how high the Williams devotees place the six scores or how much we want to praise Shore for writing a wonderful three act fantasy opera. They're each their own movie that fits into a large story arc. Star Wars is six distinct episodes that take place months or years apart, with hundreds more stories to tell in between each installment. The Lord of the Rings, while based on a giant three part book, and designed as a giant three part single movie, was still released as three movies. The score of each installment of these franchises got its own introduction, its own body, and its own end credits. If you consider Star Wars a single movie, please consider Star Trek II, III, and IV as a single movie. Please consider Rocky I through VI as a single movie, especially since the end of the previous movie is directly cut and paste as the intro to the next movie. Hey, they do that with Back to the Future 1-3, please consider that one movie too. I suppose the entire life story of 007 as told from Mr Connery through Mr Craig should also be a single movie. I would still put Return of the Jedi on here as a very long film score, as its 1997 two-disc edition claims to be longer than its film since the opening dialog between Vader and Luke remained unreleased, yet scored. Any score consisting of two or more discs would belong here for discussion, and the longest I know of is for The Return of the King, complete recordings edition, weighing in at four discs.
  21. I enjoy both Waterworld and Cutthroat Island when you've got nothing else to watch. They're self-contained Saturday afternoon guilty pleasure popcorn movies.
  22. We all think this kind of album is sad, and it is, it's not even worth the space it takes up on a store shelf. Yet there is an audience of people who gobble these kinds of CDs up as they are basically Greatest Hits albums for soundtracks. Calling it "New Recordings of the Classic Scores" is definitely misleading, since this is just a studio's attempt at making a one-disc compilation of the most popular concert suites or most downloaded iTunes singles from the Star Wars saga. For the people who think that nine or more CDs of music from the SW saga is too much, this is Star Wars lite and they're happy. It's almost the same as buying a Beatles greatest hits CD instead of all the albums, and facing the wrath and scorn from the die-hard Beatles fans for not appreciating the albums. Only in this case, a Beatles GH album would feature the original recordings by the original artists and maybe one or two unreleased songs. This SW release is simply a rerecording. Blech. ~ And just for the record, it took me six years, two months, and nine days to hit 500 posts. That must be a record for most lethargic poster.
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