Wojo

I get bent out of shape when I consider something a score like "The Empire Strikes Back." Now I'm not old enough to have grown up with the original LP or the Gerhardt re-recording, so my first introduction was the Anthology. Of course, we all know that the 1993 Star Wars Anthology is neither entirely C&C nor A&A. It adds new material not present on the OSTs and LPs, making the first three discs more complete than earlier presentations, but even more unreleased material exists on a fourth bonus disc arranged in a way that attempts to create a pleasant listening experience. There is a main title at the beginning and end credits at the end, and the tracks from the three movies flowing throughout, and the three source tracks placed in the middle as if they indicated the boundary between Sides 1 and 2. A strictly C&C archival perspective would put all the SW tracks together, followed by the TESB tracks, finished with the ROTJ tracks, or disperse disc 4 to the three movies -- that presentation came with 1997's flawed SE albums. The avid collector and fan of John Williams' music would have all three presentations -- LP/OST, Anthology, and SE -- and find the best of each version, while fans of distilling each film to only 30 or 40 minutes would keep their OSTs or LPs, or use Disc 4 of the Anthology as a coaster.
The track that I have come to enjoy the most from the whole TESB score is not present on "disc 2," it's on the bonus disc -- "Carbon Freeze/Luke Pursues the Captives/Departure of Boba Fett." That musical track never existed at all in a form isolated from the movie until the 1993 Anthology. When such bonus material is dismissed at being more C&C than A&A, it's as if saying that music never deserved to be heard outside of the film by anyone. That is a very cold and callous thing to say, especially since this track is more complete than what is presented in the film, which dials music out in places where Vader and Luke's dialogue and clashes were deemed more important.
This track wasn't released in 1980 because it was so long, it would dominate one entire side of an LP or force the track to be cut into smaller sections to fit better, which would take away album space from shorter, more thematic, almost "radio or singles friendly" tracks, like "The Asteroid Belt" and the "[]'s Theme" tracks. It's nearly 2013. I don't want technological limitations from 1980 to limit how music is presented and enjoyed 32 years later. If you had an OST or LP back in the day and that's all you want, fine, enjoy it. If that's your main course, fine, but for the rest of us, it's only an appetizer. If any complete score exists or can be re-recorded and is in listenable quality, it deserves to be presented to those willing and eager to buy it and willing and eager to listen to it and willing and eager to enjoy it.

He/She'd probably say: "I don't give a shit about that".

Sorry to bring this back after a few days, but I have to say my piece. Not trying to start a fight, just want to further expand on my views.
I grew up watching Superman for the last twenty-five years. I think its still a great film and definitely set a trend which continues to be followed, most notably very closely structurally in the Spider-Man movies. That being said, having become more exposed to Superman in his original media, comic books, I see it as a way to portray Superman in a very basic way without really getting into much depth. Clark Kent is not a bumbling idiot, he's a competent reporter who is average in just about every way. He doesn't stand out as to not draw attention to himself, and this is completely differently portrayed in the original film than in every other media. Reeves performance is great, but he's hardly the definitive Clark Kent. After all, Clark is just as much of his personality as Superman is, so to get half of that wrong really bugs me nowadays.
As for the film itself, the motivations for Clark becoming Superman are very minimal. For a film pushing two and a half hours, it does very little to actually give motivation to Clark to become Superman. Yes, his father gives him a speech about responsibility and having a purpose, but it really doesn't have much of a draw, especially for a teenager. Jor-El's recordings obviously played a big role in him choosing to do what he did, and I felt those being expanded upon could have really added more gravitas to his decision. Instead we get scenes with characters like Otis and Miss Tesmacher, who were created solely for the film and while well played, lead to less of a focus being given to Superman like it should have. Hell, the second half of the film features very little of Clark and Superman other than action sequences. While Reeves is always strong and his presence was dominating, I would have loved to seen more. At least this is one thing that the sequels helped to address.
As for the upcoming film, I'm glad that Goyer is apart of the process. I don't think he's a particularly good filmmaker, but he definitely understands the characters in these comic films. And that is an important thing to remember. These characters should be treated no differently than any other adaptation, where they should be given the respect they deserve and not treated as jokes. Superman really took a back seat in the last film, basically being resorted to be a stalker and an absent father. Hopefully this new film will delve into his troubles with fitting into society and trying to reconcile how he will always be different and the burden that brings. That is an important part of the character that wasn't addressed much, and when it was in Superman 2 he chose to give up his powers to bang Margot Kidder. Hopefully this time it will do an equally good job showing why he chooses he much be the hero of the Earth (not just America) and be the symbol of justice for society that he can be.

Wow!

I love it all.
I love being immersed in a film on my own.
I love showing movies to others and seeing their delightful reactions.
I love experiencing movies for the first time with others.

Negative. Go read some of the comics. The Superman of the Donner film is a very simplistic view of Superman. This film is actually touching aspects of the character that are hardly explored on movies or tv, but have been a part of the comics for decades.

Donner's film hardly portrays the definitive Superman. Hell, the whole "Truth, Justice, and the American Way" stuff is from the old tv show, not the comics. Superman has been a character for almost seventy-five years and has gone through a lot of development, and gasp, a lot of questioning why he has this power and why he can't be normal like everyone else. In case you forgot, Donner de-powered him in Superman 2, so he had Superman literally choosing to not be Superman anymore.
This film is showing why he chooses to become the man that everyone loves. The scene with Jonathan probably is setting up Clark's dual identity, as that "maybe" is clearly the beginning of a larger conversation. The Donner movies showed a very narrow view of Superman and unfortunately have left many believing that this is all that he is. Hell, even Lois and Clark did a better job of showing the conflict between the man and the suit. I love the original film and it does a great job of showing Golden Age Superman, but this film looks like it can be the more definitive view of the character.

The first time I saw it, I was generally bored because it's so long. I swear Heston and Loren were bored with the script and their performances register. But the scenery is superb and the music is gorgeous, and I really need to dig out my DVD to devote the three hours required to rewatch it now that I'm a little more refined in my movie-watching abilities.

These 60 seconds are better than anything in Burton's films:

unfortunately I do not know your actual name. Perhaps you've revealed it and I missed it.

The Oscars have been rubbish for years now.

The realization that Christmas was barely two weeks away and hundreds of Middle-Earth boys and girls would clamor to sit on the old wizard's lap brought a rise to his robes, er, a smile to his face. Yes, a smile.

Socrates: I drank WHAT?!?

Frodo: Sam... Why did you kiss my ear?
Sam: Why are you holding my hand?
Frodo: Where's your other hand?
Sam: Between two pillows...
Frodo: Those aren't pillows!

Wormtongue tries to wake Theoden from his throne after viewing two complete cycles of The Lord of the Rings: Extended Edition movie marathon, but to no avail.

No hockey.

Wojo the Schizophrenic.

Buy movie theater popcorn? Screw that. Dollar store candy in coat pockets is where it's at.

Funny you say that since I'm listening to Cutthroat Island as I type this. Still on the first disc, but I can't get enough of the sheer overpowering orchestral majesty of this score. A quality it shares with Independence Day is that there's never a dull, skippable track.

Six years later, and Rick Grimes still hasn't found Sophia. Or a barbershop.

I avoided seeing TPM in 3D because I want this 3D enterprise to fail. Even if that means we won't see Star Wars, Empire, and Jedi in 3D, that's ok with me.

if she were beautiful she'd be Emma Watson.

What you mean is it's just easier to make shit up than it is to actually have to elaborate properly on something when speaking in broad generalisations.
Apparently I'm one of the seemingly few to really get into S2 - to the point it kindled my addiction of the show in general after the faltering first season (I actually abandoned the series completely; eventually bothering to watch S2 almost a year after it first aired). For me season two was quite brilliant in its quieter, character moments. Season 3 will have to keep its extremely high quality so far throughout the remaining episodes if it's to better it.

Oh wow, it includes Summer in the City! How could it not?!

I don't watch The Walking Dead to consider concepts of "good" or "bad." If I had to break it down into its core components, I would probably find no reason to watch it. Grisly dismemberment. Hammy overacting. Cardboard characters who seem to have forgotten how to live in a post-apocalyptic world who do really stupid things to let the zombies/walkers/biters get the upper hand, and then bite it off. Humans who fight amongst themselves as opposed to systematically exterminating all the zombies -- oh wait, we turn once we die, leaving no way out of the mess. I feel kinda bad when beloved characters disappear, but cheer when the bad, stupid, or annoying ones finally get written off.
It's held my attention a lot longer than Lost ever did and helps fill in the hole left by the end of 24. Panem et circuses.

That's sad, but I hope it'd work as a gateway drug.