u/MWH1980

Wow. It feels like a long time since a Giacchino score got me excited, but what he brings to the score feels, not quite John Williams, but, that he is perhaps for the most part channeling the likes of the late Jerry Goldsmith.

There are a few cues that reminded me of Goldsmith’s scores from early 80’s films like Poltergeist, Gremlins, and Explorers.

Anyone else get that feeling, or think of some other older composers?

I was considering seeing it, but wasn’t sure if it was just the theatrical aspect ratio projected on a big screen, or if it was formatted for the larger IMAX “square” screen.

Seeing a few scenes, I was reminded of the silent-but-deadly movement of the dinos in Jurassic World Rebirth. However, for some reason, it felt like it worked so much better in this film than that one.

It almost reminded me a bit of the scene in Return of the King where Shelob is moving around quietly.

Your thoughts?

I feel the writer/director was channeling a bit of Spielberg’s darker elements at times.

- the score by Giacchino I noted wasn’t so much a John Williams homage, but it felt like there were elements of Jerry Goldsmith’s Poltergeist score in there too.

- the bright lights illuminating people’s faces.

- There was even one scene featuring Hathaway that really gave me vibes of the Mom from that 1982 film (not going to say it here).

Sure, I wished I could belt out songs in Michael Bolton’s tone, but Belinda was always one of those women whose songs are still in my “slow dance” playlist.

All I know is if this had been released in the US, it would have been on repeat in my Discman for much of that Summer.

The one thing I often here, is people wondering how Padme doesn’t run away in terror after Anakin confesses to the Tusken village slaughter in Attack of the Clones.

Early in the film, Padme stops by her parents’ place to get some things before she goes into hiding in the lake country.

As she packs, Anakin notices some holo-pics on her wall. One shows her with several young alien children.

Padme tells Anakin that she was helping with a relief effort to relocate the children from their home planet to another one as their sun was imploding.

However, she tells Anakin that the attempt to save the children was unsuccessful, as they couldn’t adapt to their new home, and succumbed to death.

I saw this possibly being an “echo” as to what Qui-Gon had attempted with Anakin in Episode I: remove him from an inhospitable place to give him a better life…but in the end, Anakin struggled to adapt as well.

Plus, perhaps the reason Padme was being so willing to help Anakin, was buried in this deleted scene, of how she would try to help others even under such dire circumstances.

I’ve seen this in a few of his films, where he gives us an opening shot that almost hints at something bigger and better to come…however, it’s a compare/contrast thing.

Here are three examples:

Hook: In the opening, we see a school production of Peter Pan, with low-tech effects and precocious children. Later on. We get our big-budget version pf the story with big-budget effects and kids with attitude.

Jurassic Park: We get something moving in the trees, only to see it’s a machine. The counterpoint to this is when we get our first full-view of the Brachiosaur amongst the trees later.

War of the Worlds: We see Ray handling a machine that moves cargo containers, a counterpoint to how primitive our machines are compared to the alien war machines that rise up out of the ground.

Any other scenes like these in his films?

Not sure when it started, but he’d enjoy seeing me wince. Went on for a while, and I never reported it.

Thinking about it now, I was almost wondering if he might have been repressing some emotions about me, and that was his way of getting them out (I tend to get into that “what if” of psychological stuff).

There were a couple shorts where when someone unexpected stopped over, he seemed pretty happy to entertain them. Like when his cousin Gus showed up, or when a failed batch of waffles led to knocking on the door.

Even when his sister sent his nephews, he was excited to entertain them and have them over.

It sounds weird, but I guess to me it’s a quirk about Donald that not a lot of people consider, though I did feel a bit sorry for how some would rile him up.

I can still remember some.

• swear the sounds of bullets when people were killed really was loud to make us flinch

• I remember my Dad laughing at the moment when Schindler hires all the women for secretarial duties

• There were sone laughs when Goeth complains about the top being down and “f’ing freezing.”

• When Helen Hirsch’s name was in the list (aka Schindler had won the game against Goeth for her), I remember hearing some people vocally breathe a sigh of relief.

• When the Schindlerjuden are walking towards the camera, and it fades into them in 1993, there were some vocal gasps and exclamations seeing how many were still alive.

Anyone else remember reactions from when it came out?

One of several clips that makes me feel that way.

From Nancy Wilson’s score to the almost ethereal feel of “the family whistle” in the distance as William tries to hold onto as much time as he can with Penny before he has to return to “the real world.”

There’s some elements of this that I’m trying to capture for my book I’m writing about a teenage relationship.

For me, it was while watching Don’t Breathe.

After seeing that the blind old man they are trying to steal from is actually not afraid to kill anyone he finds in his house, the female lead and the guy who likes her have a chance to get out of the place and save their lives.

That is when she says: “but then we wouldn’t get to keep the money.”

Look, I know you’re trying to escape poverty with your sister, but at this point girl, you just totally lost any sympathy from me. You’re not being brave, you’re being incredibly stupid!

Anyone else care to chime in?