Tom Petty’s original songs and score for “She’s the One” is great.

That’s a weird one and I own it, but it doesn’t have an actual track from the film on the album. It’s like he opened up the door to his room at a roadside motel, sat on the bed, plugged in an amp, and just played an improv version of the score for the movie as he remembered it. Maybe the original masters were lost or…

I remember being annoyed at its theatrical release, which seemed weak-sauce compared to the build-up it was getting. Maybe the studio (Paramount?) got test audience results and got cold feet at the last minute. Portman, Thompson, and Isaac were all hot... they and the author were all out on a press tour. Garland was…

I took a look at Robert Redford. Almost you know. Depends on how you feel about his #1... “Ordinary People.” Numbers 3 & 4 are all-time greats, though: “A River Runs Through It” and “Quiz Show.”

Gregory Peck had 800lb gorilla sized gravitas. Fucking Atticus Finch/Ahab investigating a devil child. Space ships could have showed up. Tim Curry’s Darkness could have showed up... and Gregory Peck would get you there. David Warner helped too - I think because he’s British, deadly serious, and inherently creepy. The…

The takeaways here are barely rising to any sort of annoyance let alone outrage. “Bill Maher didn’t book Steve-O because he didn’t feel like it!”

Favorites: “Marion, we gotta get outta here... duck!” at the start of the Cairo Sequence. Nothing beats a punch POV filmed from the thrower’s elbow as the punch goes back in deep - center frame. This one is simple & perfect.

I had to think on this. I think the wrong note in Popeye is Robert Altman. Which kinda sucks because he put the whole thing together at a time when people would back anything he did. Everything in the movie: the cast, the sets, the songs, even - you could argue - the script - was solid, it just felt like everything…

He really worked seriously on the songs too. The demo recordings are fantastic.

“Annie” got mostly 3 star reviews, but it went way over budget. Iirc it broke even-ish. It’s a fine enough version.

Give ‘em at least 5 if you’re going for all the Hawk & Dove stuff.

Godzilla swimming behind the boat and taking machine gun fire to the face is the scene that locked it up. That whole sequence was fantastic. There were other good bits, and some bits that (though great) were still Godzilla Movie boxes that needed to be checked. But the consistency of Minus One’s fx held throughout. 

Starling?! You got that right. Lol. Also fucking Hoyt Curtin wrote every. single. Hanna-Barbera. cartoon. theme. ever. Like more than 200. Those two dudes scored my entire childhood ages 2 to 12, Williams took the baton after that.

Hotel Artemis was the best thing I’ve seen her in. If Foster and Bautista would produce, I bet they could make a nice down and dirty sequel.

Still pulling for Sofia Boutella to get a win. 

Add JFK (91) to that list. One of the best of the non-Spielberg soundtracks from that time period.

See it live if you get the chance - full movie with orchestra - whenever these things start touring again.

Depends if, in future conversations, the “Pop” structure of an album becomes thought of as equal to long form symphonies. Close Encounters, Schindler’s List, maybe E.T. and Jaws could be listened to as one full work that flows... Raiders and Superman are sort of like, “theme. theme. theme.” I’m not dunking on the…

In the intro:

#releasetheschoonmackercut