THAT is how you score a f##cking trailer! Magnificent statement and development of the Force Theme.

HA!

Just actually watched this. Wow. I knew the gist already, but seeing the personal stories of the apostates… Sometimes hilarious, mostly just bone-chilling and scary. Almost have to admire what an organization like this is capable of, even if they're like textbook lawful evil.

Agreed. What a ridiculous conclusion to draw.

Completely ridiculous how little coverage this show has gotten from AVClub. Amazed there hasn't at least been a mention on the newswire of the incredible fallout of this show. Get it together!!!

Especially synth (!?!) oboe.

Funny, I think of it as one of the most poorly executed, compositionally inept scores I've ever heard (and I'm a ridiculously hardcore film score buff and particularly huge admirer or Morricone). But I'm glad at least someone got something out the soundtrack!

If you dig this, and you have a taste for a bit more rigor, I strongly recommend David Metzler's series on "Ridiculously Big Numbers." It's a 14 part series, and by like the second video he's getting numbers that make Graham's look like a speck of dust.
https://www.youtube.com/wat…

I'd say very, very, very good. Something does feel missing here though.

Eloquent defense of this film. I wholeheartedly agree, and wish that the larger fanbase was willing to give it the same kind of critical resuscitation that a lot of us here have.

Best score, that's for sure.

The entire score to TMP is one of Jerry Goldsmith's absolute finest—which means its one of the best film scores period. This alone I think makes it unmissable.

Dark Ambient is actually my favorite subgenre and the one I know the most about. I absolutely love Stalker, and "Point of No Return" pretty much epitomizes what attracts me so much to the style. Steve Roach's "Magnificent Void" is probably my favorite album, but beyond his stuff and Lustmord, I don't really know much…

Great write-up! Something I'd love from AVClub is a Gateway to Geekery about Ambient — a genre I've long enjoyed but find pretty daunting to get a hold on (esp. with all the subgenres).

Might this be what you're thinking of?:

Here here, though I find Eliot Goldenthal's scores for the Schumacher films to be rather underrated.

Actually, whole tones (C and D natural, a pun, I suppose, on DC comics).

Harry Potter and the Kafkaesque Prison of Self

Keeping Molly and Malvo away from each other, and denying us that epic final confrontation really does strike me as a very Coen-esque bit of dramatic denial—not just like keeping Tommy Lee Jones and Javier Bardem never meeting, but also like having Josh Brolin's character expire off screen.

I'm tired of this line of critical reasoning. It's an issue with the structure of the books, not the show. The showrunners have repeatedly and explicitly stated that don't conceive of individual episodes as tightly knit units, thematically or narratively. The nature of the source material obviously prohibits there…