pixie_twinkle

I was thinking exactly the same thing. The fridge scene is just as dumb as most of the rest of the film. In the first three movies Indy's escapades, improbable and fantastic as they were, were still well grounded in the realm of the possible. To expect anyone (even Indy) to have survived being blasted that high into the air in a fridge is pushing it too far. Raiders works so well because for all his bravado and posturing, Indy is still very obviously presented as a mortal man.

But life will find a way...

Same two as I got? (Home Alone and Star Trek V)

I hope you've at least been outside the state. LOL of course. As far south as the bottom of Florida, as far North as Montreal, and as far West as Los Angeles Not the first time, I'm sure. Never heard of that, actually Then you really need to watch this:

Obviously Hedwig's Theme. It screams "Harry Potter". Of course "He's a Pirate" many people will recognise as being POTC, but I bet if you played them any old pirate shanty they'd say it was the theme from POTC.

I am "from" Europe. Specifically Sheffield, England. Since 1998 I've been living in North East Ohio, USA. As the question was "Which part of the world are you from" I went with Europe on the poll.

I would say he's in a league above Spielberg as an artist. Rarely do Spielberg films (more specifically recent Spielberg films) provoke the emotional reaction in me that films like Brazil, 12 Monkeys, and Doctor Parnassus provoke. Spielberg films can be terrific fun, though. Apples and oranges. I am grateful that both filmmakers exist and work so that I can enjoy the fruits of their labours. Having said that I wish Gilliam would get the financial backing to get more films made. I don't agree with Gilliam's rather vocal remarks about Spielberg, and his disparaging appraisal of Spielberg's approach to filmmaking. I happen to think SL is a wonderful film, and perhaps the last great film Spielberg has made. However, Gilliam has proved himself time and again to be an incredible visionary, often without major studio backing and support. Gilliam certainly has more imagination than Spielberg. I would go so far as to say that Gilliam's imagination far outreaches his talent sometimes, and you know what, that's the way it should be. Spielberg more often plays it safe. Nothing wrong with that either, if you're as seasoned a director as Spielberg. If I want a well-crafted, enjoyable, polished-looking film I'll watch Spielberg. If I want a crazy, messy, bold, and slightly outrageous film that may take a couple of viewings to grow to even like, then over time to absolutely fall in love with (as with Tideland), I'll take Gilliam. I'm shocked by some of the tempers and hurt feelings on display in this thread, but I'm encouraged by them too! Both directors quite deservedly have a passionate fanbase. I lean more towards the Gilliam camp, but I think Spielberg has earned his place in the history books. Yes, yes, and yes.

Oops, I thought Combo! was a soundtrack. I stand corrected. The box set includes Peter Gunn, and as Miguel pointed out Williams is all over that CD too! What a great purchase (about fifteen bucks for 5 CDs!).

Nicely done! I'm a huge Chaplin fan but I've always found this speech to be horribly preachy and out of place in an otherwise wonderful film. The music works very well, giving a real emotion to the scene. Ah, the power of film music... Even if it is Hans Zimmer

Hey, I love Diamond Head!

Listening through it now. It's Mancini so of course it's very easy and swinging. Great stuff. Johnny has nice harpsichord solos on "Moanin" and "Charleston Alley", and a really beautiful piano solo in "Dream of You". Great stuff! Also, the track "A Powdered Wig" is absolutely driven by Williams on harpsichord from start to finish.

As a proud Who veteran I'll answer to the best of my memory. The Doctor was never the powerful force he is now during the classic series. At least hardly ever. Towards the end of the rather poor Sylvester McCoy era the Doctor started implying he was rather more important and God-like than a regular Time Lord. At one point he says "I'm much more than just a Time Lord". It all seemed like a desperate attempt to breathe a little mystery and life into a dying show, though. I believe it was the idea of scriptwriter Ben Aaronovich to try and get people interested in the show again. Of course the show was axed before the idea could be developed any further. The only other time the Doctor has had a huge destructive influence on other ciivilizations is in the story "The Face of Evil" from Tom Baker's era. The TARDIS lands on a planet where an enormous face of the Doctor is carved into a cliff wall, Mount Rushmore-style. Turns out that the Doctor had previously visited that planet several thousand years earlier and fixed a computer by giving it part of his own personality. After the Doctor left, the computer proceded to go bonkers and set itself up as a ruthless God that demanded to be worshipped. The Doctor never had romantic relations with any of his previous companions, although he did become very close with both Jo Grant (3rd Doctor era) and Sarah Jane Smith (4th Doctor era). When those two companions left, the Doctor was clearly very sad to see them go. Yes the companions have been predominantly female, though there has been a small but significant number of male companions, especially in the 60s. In fact one of the longest-running companions was male: Jamie McCrimmon from the 2nd Doctor's era. Other male companions were Ian Chesterton, Steven Taylor and Ben Jackson (1st Doctor era), Harry Sullivan and Adric (4th Doctor era), and Turlough (5th Doctor era). Also worth mentioning is the Brigadier who, while never specifically being a companion, was very much a regular good-guy on the show during the 3rd Doctor's era.

Just picked up the Henry Mancini Original Album Classics boxset (on RCA). I recognised a familiar face on the back sleeve of the Combo! soundtrack. Sure enough, Johnny Williams plays piano and harpsichord in the orchestra. He even gets his picture on the sleeve! Anyone else notice this before, or have I made an amazing JWFan discovery?

Books: Goblet of Fire Philosopher's Stone Deathly Hallows Order of the Phoenix Prisoner of Azkaban Chamber of Secrets Half Blood Prince Films: Prisoner of Azkaban Chamber of Secrets Deathly Hallows Part 1 Philosopher's Stone Deathly Hallows Part 2 Goblet of Fire Half Blood Prince Order of the Phoenix Scores: Philosopher's Stone Chamber of Secrets Prisoner of Azkaban I don't know the others.

I quite like QOS for what it is, but Campbell is pretty much right on the money with his comments. It was a sorry follow up to Casino Royale, especially as it was supposed to be the second half to the story. It feels more like a rather uninspired and rushed epilogue tagged on the end of Casino Royale than any kind of serious attempt to conclude the masterful story set up in CR.

I can't get anything to play on the link. Am I missing some kind of codec? I've tried on two different computers.

I just remembered I bought the Intrada release on ebay a few months ago and the price wasn't too expensive, I'm really lucky Yes you are! I paid about $160 for the Japanese CD! (I needed a big comfort purchase at that dark time of my life)

Man you've had some rotten luck. On the positive side, your misfortune is a warning to the rest of us to back up our collection soon.

Spacecamp is also a bloody marvellous score. I'm as surprised as anyone that Family Plot didn't sell out immediately, but that doesn't change the fact that there's a magic and mystique surrounding Spacecamp that I'm sure contributed to the fast sell-out time. It really is one of the "Holy grails" of Williams scores despite Ro's claim to the contrary (no offense intended). The "grail" status is mainly due to its ridiculously hard-to-find release on a Japan-only label. I was lucky (stupid?) enough to win one of those original Japan CDs on e-bay about 11 years ago. It's still a treasured posession. I've never seen the film, but I've adored the score since I first bought the vinyl back in the early 90s. It has a real sense of wonder and magic to it. It may not be one of Williams' absolute best scores, but it's one of his most heartwarming and dreamlike. It's also one of my absolute favourites. Midway: Ordered!

I'd like to be able to decide for myself which tracks are worth listening to outside of the movie and which aren't. Therefore I'd really like all soundtrack releases to be as complete as possible. If I really thought the score wasn't that interesting I won't buy the CD. Simple as that.

I gave up watching Lost after the first season because the story arc literally "lost" its way.

And unfortunately the convolution of many of this season's storylines means that you HAVE to scutenize them to try and make sense of them. And then the plotholes appear. Don't get me wrong, the pacing, dialogue, and sophistication of Moffat's writing is terrific. It's just the details of the actual plots that have suddenly taken a bit of a nosedive. Moffatt is brilliant at writing individual complex stories that manage to wrap up beautifully at the end, like the aforementioned Girl in the Fireplace, or the incredibly well-done Silence in the Library 2-parter. I just think he needs to stop holding too many plot points over in story-arc fashion, because he doesn't seem to be very good at coming back to them and concluding them in a satisfactory manner, if he comes back to them at all.

Where did he admit it? Is there an interview online? I'd be quite interested to read that.

I'm all for the hinted-at reboot. I'm definitely ready for a more traditional season than this last one. Having said that, I enjoyed every episode this year (with the possible exception of the Curse of the Black Spot). It's such a contradictory show for me right now. I hugely enjoy every minute of each episode, but then feel frustrated and confused when it finishes. This season has been an intense mixture of huge doses of fun and enormous helpings of plot-hole frustration. I just bloody wish the Moff would finish just ONE of his plotlines occasionally. He used to be able to do that beautifully. The Girl in the Fireplace: What a complex story, what a beautiful episode, what a tearjerking final revelation. Beautiful. Perfect. So much better structured than the huge mess of a story we seem to still be in at the moment. If, as Steef suggests, the whole River, Amy, Rory story is finished, and we are going to move on (which I kind of hope is true), then WHY does it all feel so unsatisfying and unresolved?

Interesting, but I still think the show needs to get away from being so Doctor-centric. It's high time the focus was put back on the mystery of traveling the universe of time and space, and less on soap-opera revelations about the main characters. Also, I'm not sure I'm happy with the idea of Moffatt rewriting the Doctor's identity so much. I think he has a responsibility to the last 50 years of the show. He needs to respect that the Doctor has to remain a little mysterious and start focusing on his adventures instead of making the Doctor himself the reason (and blame) for all the terrible events in the universe. Much as I love Matt Smith's portrayal, I miss the RTD approach.