> 1. The Lord of the Rings: The Rings of Power Season 2
> 2. Wicked
> 3. The Fall Guy
> 4. The Wild Robot
> 5. That Christmas
> 6. Young Woman and the Sea
> 7. ARK: The Animated Series Vol. 1
> 8. Interview with the Vampire Season 2
> 9. Spellbound
> 10. IF
Nice list, and quite a detailed post!
> Composer of the year: John Powell
> ***** for 1-4. ****½ for 5-10. There’s enough great material from the year
> to not worry about including Christopher Young’s The Piper based on
> how that score was presented in its April 2024 album release. As for
> Young’s Nosferatu re-score, keep reading…
> Said every year, but still bears repeating: many thanks to Christian for
> hosting this interruption of the board’s usual fanboy silliness, whinging,
> trolling, and smut - and many thanks to Craig for coordinating this event
> and owning its not insignificant administrative responsibilities.
>
>
> Comments on the top 10
> Warning: may include gaslighting
> - I have probably posted enough about The Rings of Power here over
> the last six months or so (lol).
> - Complete & chronological album presentations for major film
> adaptations of stage musicals largely don’t exist, so it’s not
> straightforward to discern how much, say, Alfred Newman contributed to
> The King and I or André Previn contributed to My Fair Lady.
> In the absence of concrete data, while I can’t say with absolute
> confidence that John Powell’s work on Wicked constitutes the most
> substantive expansion of a preexisting stage musical ever, I feel
> comfortable saying that it is at least on par with what John Williams did
> for Fiddler on the Roof.
Not something I'd given a lot of thought to before, but you may be right!
> - Three things I really liked about The Fall Guy that weren't just
> “simply pretty decent action cues at the end”*
> *Those pretty decent action cues at the end are also brilliant.
> Please @ me.
> 1) Rock-infused action scores these days are often at best a kind of cool
> sonic wallpaper (ArborArcanist’s recent post about the John Wick
> franchise comes to mind). On the flip side, musical nods to the 80s are
> often either dated nostalgia (The 4:30 Movie recently did this,
> albeit intentionally and effectively) or the library music feel of
> Stranger Things. Dominic Lewis managed to live in both of these
> worlds while simultaneously avoiding their pitfalls, delivering the kind
> of theme-based writing we as a collective often demand of the genre
> without losing any of the coolness that comes from utilizing this kind of
> ensemble. His score has an extroverted personality and works to enhance
> its scenes in ways beyond just layering on a kind of modern ambience - and
> while, yes, one could argue that it stands out because such writing for
> the action genre is in short supply these days, that doesn’t make the
> accomplishment any less commendable.
> Or to put another way it’s Bullet Train with all of the madness but
> 25% more coherence, with Lewis doing an even better job this time
> integrating his song elements into his score (and his own wailing voice,
> for that matter). How he incorporated Kiss without causing the movie to
> drift into high camp should be studied in schools.
> Or - to really put it provocatively - it’s Lewis’ Cherry 2000.
> 2) It’s a masterclass in taking a seemingly simple theme and putting it
> through the wringer, something I may not have picked up on if not for an
> FSM piece that broke it all down. Lewis’ main tune exists in so many
> different forms - a rock riff, a rapid-fire stinger, and an ostinato for
> starters, with some of those played concurrently at times - that part of
> the fun of revisiting the album is finding some new wrinkle in how he
> messed around with the idea. By the time you get to the long-lined heroic
> versions near the action climax, you feel like the score’s earned the
> right to play it that way (one could argue the music nails Ryan Gosling’s
> character redemption / resurrection arc better than the rest of the
> shrug-inducing movie does).
> 3) Those conclusive songs are hella fun. It’s one thing to turn your love
> theme into an 80s power ballad. It’s another thing to crank out a rowdy
> jam that's a stealth middle finger to the Academy for not formally
> recognizing stunt work; some of those lyrics in Unsung Heroes are
> hilarious, inducing laughter amidst the head-banging. And if you thought
> Lewis hadn’t done enough with his main theme, you can find him singing it
> in the back half of his bizarrely catchy disco tune Ain’t No
> Galaxy, a track written early in his process for a chase scene that
> was cut from the movie (hence why it’s just an album piece).
> - And to think there’s a first listen post of mine where I wrote that
> The Wild Robot didn’t seem to be terribly thematic. Oh dear. My
> only consolation is that sleuths digging in the Scoreboard archives will
> likely find several way dumber takes on my part.
> - I wish I liked the Spellbound movie as much as I liked its music.
> Regardless, The Way It Was Before is Disney Renaissance-level good.
> - I really should take advantage of Interview with the Vampire now
> being on Netflix to see how the music works in context…cuz who the heck’s
> gonna pay for AMC+?
> - Star Wars: Skeleton Crew would’ve made my top 10, but as the
> IFMCA’s gonna treat it as a 2025 score I’ll throw it on next year’s list.
> Regardless, the #nepotism crowd sure got quiet after it came out.
I skipped paying any attention to this (show or score), but I'll add it to the list
> The **** residents of my 11-20 spots - in alphabetical order - are Takeshi
> Furukawa’s immensely overrated but also at times spectacularly immense
> Avatar: The Last Airbender Season 1, David Fleming’s surprising
> Damsel, Rob Simonsen’s outrageously fun Deadpool &
> Wolverine, Harry Gregson-Williams’ enticingly layered Gladiator
> II, Alan Silvestri’s serene Here, Gordy Haab’s faithful
> franchise continuation Indiana Jones and the Great Circle (complete
> with that swingin’ big band jazz!), David Fleming’s whimsical Jim
> Henson Idea Man, Stuart Hancock’s alternatingly rambunctious,
> mysterious, and heartfelt throwback Kensuke's Kingdom, Alexandre
> Desplat’s jazz-adjacent darkness for The Piano Lesson, and Lorne
> Balfe & Julian Nott’s giddy Wallace & Gromit: Vengeance Most
> Fowl.
>
>
> My favorite 2024 specialty releases
> Not as much a ranking of film scores as how much I appreciated the album
> coming out.
> 10. Star Wars Rebels Season 4 -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=136026
> 9. LLL Goldfinger -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=137378
> 8. LLL Top Gun -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=132758
> 7. VS Deluxe HTTYD: The Hidden World -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=132742
> 6. VS Deluxe Eye of the Needle -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=136116
> 5. VS Deluxe For Love of the Game -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=136102
> 4. LLL The Godfather Part II -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=137847
> 3. LLL Jurassic Park III -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=137846
> 2. Intrada Backdraft -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=134759
> 1. Christopher Young’s Nosferatu: A Symphony of Horror re-score -
> No post yet! For shame!
>
>
> Breakdown of 2024 acquisitions - discoveries of older
> scores (2022 and earlier)
> I discovered 146 older scores last year, which was 15 more than I did in
> 2023. You may have even seen me post about some of them (lol). The best of
> those were:
> 1. Victory at Sea (1952-53) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=136188
> 2. Mission to Mars (2000) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=135081
> 3. 1900 (1976) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=134124
> 4. The Legend of Bagger Vance (2000)
> 5. The Best Years of Our Lives (1946) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=133031
> 6. The Gospel of John (2003) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=135150
> 7. Nostromo (1997) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=134903
> 8. When the Levees Broke (2006)
> 9. Shaft (1971) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=133957
> 10. Between Heaven and Hell (1956) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=133191
> ***** for 1-3. ****½ for 4-10.
> Other ****½
> Avalon (1990) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=134505
> Malcolm X (1992)
> North and South: Book II (1986)
> Rocco and His Brothers (1960) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=133331
> Scorpio (1973) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=134915
> Secret of the Sahara (1988) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=134304
> The Time Machine (1960) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=133281
> Top Secret! (1984)
> 12 O’Clock High Season 1 (1964-65)
> 12 O’Clock High Season 2 (1965-66)
> War and Peace (1956) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=133139
> **** - 1950s
> La Strada (1954) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=133080
> Night Passage (1957) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=134397
> Soldier of Fortune (1955) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=133191
> **** - 1960s
> Bob & Ted & Carol & Alice (1969)
> The Boy in the Tree (1961)
> Burn! / Queimada (1969) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=133512
> Cactus Flower (1969)
> Goldsmith’s GE Theater S8-10 episodes -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=136882
> In the Heat of the Night (1967)
> It Was a Short Summer, Charlie Brown (1969)
> Mirage (1965)
> The Pawnbroker (1965)
> The Sicilian Clan (1969) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=133628
> 12 O’Clock High Season 3 (1966-67)
> **** - 1970s
> A Charlie Brown Thanksgiving (1973)
> Compañeros (1970) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=133794
> Maddalena (1971) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=133937
> My Name is Nobody (1973) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=134010
> The Other (1972) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=139317
> They Call Me Mister Tibbs! (1970)
> You’re Not Elected, Charlie Brown (1972) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=136088
> **** - 1980s
> The Betrothed (1989) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=134442
> Frantic (1988) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=134369
> Top Gun (1986) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=132758
> **** - 1990s
> Awakenings (1990) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=134625
> Candyman (1992)
> Emily Brontë's Wuthering Heights (1992) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=134748
> Nightbreed (1990) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=134774
> Playing by Heart (1998) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=135032
> Strangled Lives (1996) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=134785
> What Dreams May Come (1998) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=134964
> **** - 2000s
> The Caveman’s Valentine (2001)
> Inside Man (2006)
> One Night with the King (2006) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=135215
> 25th Hour (2002)
> **** - 2010s & 2020s
> Star Wars Rebels Seasons 3 & 4 (2016-18) -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=136026
> Star Wars: The Clone Wars Season 7 (2020)
> Star Wars: Tales of the Jedi (2022)
>
>
> Breakdown of 2024 acquisitions - other stuff
> 2023 catchup - 65, the most notable being Ahsoka Season 1, Blue
> Giant, Good Omens Season 2, Haunted Mansion, The
> Little Mermaid, Mushka, The Pigeon Tunnel, Rock
> Hudson: All That Heaven Allowed, and What If...? Season 2
> Expanded score releases - 30
> Compilations - 14
> Film recordings of scores I’d already heard - 2
> Jazz / R&B albums - 109
> Pop / rock albums - 9
> Concert albums - 7
> Classical albums - 3
> Stage musicals - 2
> Other - 6
> My most essential non-score discoveries were:
> 1955: Julian “Cannonball” Adderley - Cannonball Adderley;
> arranged by Quincy Jones
> 1955: For Those in Love - Dinah Washington; arranged by
> Quincy Jones
> 1957: My Fair Lady Loves Jazz - The Billy Taylor Trio;
> arranged by Quincy Jones
> 1957: This Is How I Feel About Jazz - Quincy Jones
> 1959: The Birth of a Band! - Quincy Jones
> 1960: Under Paris Skies - Andy Williams; conducted by Quincy
> Jones
> 1961: Around the World - Quincy Jones
> 1961: Genius + Soul = Jazz - Ray Charles; arranged by Quincy
> Jones & Ralph Burns
> 1961: The King of the Gospel Singers - Little Richard;
> produced by Quincy Jones
> 1962: Big Band Bossa Nova - Quincy Jones
> 1963: Ella and Basie! - Ella Fitzgerald with Count Basie and
> his orchestra; arranged by Quincy Jones
> 1964: Jazz Impressions of a Boy Named Charlie Brown - Vince
> Guaraldi
> 1964: Sinatra at the Sands - Frank Sinatra with Count Basie
> and his orchestra; arr. / cond. by Quincy Jones
> 1969: Walking in Space - Quincy Jones
> 1970: Gula Matari - Quincy Jones
> 1971: Smackwater Jack - Quincy Jones
> 1972: A Message from the People - Ray Charles; produced by
> Quincy Jones
> 1973: You’ve Got It Bad, Girl - Quincy Jones
> 1974: Body Heat - Quincy Jones
> 1976: Look Out for #1 - The Brothers Johnson; produced by
> Quincy Jones
> 1978: Sounds…and Stuff Like That!! - Quincy Jones
> 1979: Off the Wall - Michael Jackson; produced by Quincy
> Jones
> 1981: The Dude - Quincy Jones
> 1982: Thriller - Michael Jackson; produced by Quincy Jones
> 1987: Bad - Michael Jackson; produced by Quincy Jones
> 1989: Back on the Block - Quincy Jones
> 1993: Miles & Quincy Live at Montreux - Miles Davis;
> produced & conducted by Quincy Jones
> 2007: A Tale of God's Will (A Requiem for Katrina) - Terence
> Blanchard & colleagues
> 2013: Diversity - Emily Bear; produced by Quincy Jones
> 2021: Absence - Terence Blanchard featuring the E-Collective
> and the Turtle Island Quartet
>
>
> Oh, look, MORE 2024 scores
> Aka if I heard 200 scores from the year but don’t list them, did
> it even happen?
> The nine other scores I have at **** - most of which arguably could’ve
> ended up in my top 20 if I’d done this exercise at a different time - are
> Benjamin Wallfisch’s occasionally challenging but largely satisfying
> Alien: Romulus, Laurent Perez Del Mar’s pretty Bambi: A Tale of
> Life in the Woods, Lorne Balfe’s retro Beverly Hills Cop: Axel
> F, Fernando Velázquez’s playful Western adventure romp Buffalo
> Kids, Bear McCreary’s semi-parodic Tolkien palette cleanser The
> 4:30 Movie, Batu Sener’s capable extension of his mentor’s sound
> Harold and the Purple Crayon, Marco Beltrami’s stylish The
> Killer, John Paesano’s monkeying around with past and present for
> Kingdom of the Planet of the Apes, and Fernando Velázquez’s elegant
> and mysterious The Last Night at Tremore Beach, that last one a
> surprise entrant as an earlier collaboration with this director resulted
> in The Invisible Guest, one of the most obnoxious albums I’ve ever
> spent money on. The sole ***½ resident of my top 30 is Benjamin
> Wallfisch’s Twisters.
> Anyone apoplectic at the recent assertion that I might be - gasp -
> lowering standards should be relieved to read that there were plenty of
> other scores from last year that received lower than **** from me.
> Other ***½ (round up to 4 stars): Yugo Kanno’s ACMA:GAME and
> ACMA:GAME - The Last Key, Christophe Beck and team’s Agatha All
> Along, Danny Elfman’s Beetlejuice Beetlejuice, Iván Palomares’
> Carmen and the Wooden Spoon, Ramin Djawadi’s Fallout Season
> 1, Guillaume Roussel’s Family Pack, Arthur Simonini’s Fortune of
> France, Evan Call’s Frieren: Beyond Journey's End Season 1,
> Federico Jusid’s A Gentleman in Moscow, Dario Marianelli’s
> Ghostbusters: Frozen Empire, A. R. Rahman’s The Goat Life,
> Fabrizio Mancinelli’s Go for Grandma, Wilbert Roget II’s
> Helldivers 2, Stephen Gallagher’s The Lord of the Rings: The War
> of the Rohirrim, Blake Neely’s Masters of the Air, Christopher
> Benstead’s The Ministry of Ungentlemanly Warfare, Alexandre
> Desplat’s The Most Precious of Cargoes, Dave Metzger, Lin-Manuel
> Miranda, Mark Mancina & Nicholas Britell’s Mufasa: The Lion
> King, Jo Seong-woo’s A Normal Family, Siddhartha Khosla’s
> Only Murders in the Building Season 4, Ho-Ling Tang’s Our
> Oceans, Jeff Toyne’s Palm Royale Season 1, Henry Jackman’s
> Red One, Inon Zur’s Rise of the Ronin, Alberto Iglesias’
> The Room Next Door, Yugo Kanno’s Sayonara, Maestro!, Tom
> Holkenborg’s Sonic the Hedgehog 3, Diego Navarro’s
> SuperKlaus, Hans Zimmer & Kara Talve’s The Tattooist of
> Auschwitz, Brian Tyler’s Transformers One, Robin Hoffman’s
> Treasure Trackers, Alexandre Desplat’s Unstoppable, Rachel
> Portman and Jon Ehrlich’s We Were the Lucky Ones, and the two
> What If…? scores (An Immersive Story and Season 3) by Laura
> Karpman & Nora Kroll-Rosenbaum.
> ***½ (round down to 3 stars): Michael Abels’ The American Society of
> Magical Negroes, Lorne Balfe’s Argylle, Batu Sener’s Atatürk
> 1881-1919 Part 2, Andrew Lockington’s Atlas, Frederik
> Wiedmann’s Batman: Caped Crusader Season 1, Jeymes Samuel’s The
> Book of Clarence, Kris Bowers’ Bridgerton Season 3, Jeff
> Danna’s Churchill at War, Craig Armstrong’s The Critic,
> Naoki Sato’s Diamonds in the Sea, Arturo Cardelús’
> Dragonkeeper, Takashi Ohmama’s Eye Love You, Daniel
> Pemberton’s Fly Me to the Moon, Carlos Rafael Rivera’s
> Griselda, Wilbert Roget II’s Gundam: Requiem for Vengeance,
> Sam Haft & Andrew Underberg’s Hazbin Hotel Season 1, John
> Debney’s Horizon: An American Saga - Chapter 1, Andrea Datzman’s
> Inside Out 2, Philip Klein’s The Madness, Osvaldo Golijov’s
> Megalopolis, Pawel Lucewicz’s Our Folks: The Beginning,
> Dario Marianelli’s Paddington in Peru, Mick Giacchino’s The
> Penguin, Evan Call’s Sengoku Fox, Alan Williams’ Space: The
> New Frontier, Michael Abels’ Star Wars: The Acolyte Season 1,
> Kevin Kiner & crew’s Star Wars: The Bad Batch Season 3 and
> Star Wars: Tales of the Empire, Wilbert Roget II’s Star Wars
> Outlaws (yes, four straight scores from this franchise!), Ilan
> Eshkeri’s Super/Man: The Christopher Reeve Story, Nitin Sawhney’s
> Tiger, Steve Jablonsky’s The Tiger's Apprentice, The Newton
> Brothers’ X-Men '97 Season 1, and Why Dinosaurs? by Raphaël
> Dargent.
> ***: Brian Tyler’s Abigail, Taran Mitchell’s Alexander: The
> Making of a God, Jacob Shea & Laurentia Editha’s Asia,
> Pinar Toprak’s Avatar: Frontiers of Pandora - Secrets of the
> Spires, Hans Zimmer’s Blitz, Daniel Blumberg’s The
> Brutalist, Trent Reznor & Atticus Ross’ Challengers, Daniel
> Pemberton’s Concord, Vatche Kalenderian’s Cygni: All Guns
> Blazing, Rupert Gregson-Williams’ Dear Santa, Giuliano Taviani
> & Carmelo Travia’s Diamanti, Nami Melumad’s Dream
> Productions, Hans Zimmer’s Dune: Part Two, Zbigniew Preisner’s
> Europa Centrale, Carlos Rafael Rivera’s Ezra, Julia Newman’s
> Feud: Capote vs. the Swans, Massimo Martellotta’s Finally
> Dawn, Antonio Di Iorio’s Godzilla x Kong: The New Empire,
> Masahiro Tokuda’s Hanasaki Mai Speaks Out, Mark Mothersbaugh &
> Nick Lee’s Interior Chinatown, Roc Chen’s Into the Mortal
> World, Fernando Velázquez’s Invisible, Steven Price’s
> Joy, Tom Howe’s Knuckles, Hans Zimmer & Steve Mazzaro’s
> Kung Fu Panda 4, Alexandre Desplat’s Lee, Dominic Lewis
> & Guillaume Roussel’s Lift, Mark Mancina, Abigail Barlow, Emily
> Bair & Opetaia Foa’i’s Moana 2, Carlos Rafael Rivera’s
> Monsieur Spade, Frederik Wiedmann’s Monster Summer, David
> Fleming’s Mr. & Mrs. Smith Season 1, Kei Haneoka’s The Name
> of the Game is a Kidnapping, Siddhartha Khosla’s No Good Deed,
> Rubén Melià’s Nordic Ashes: Survivors of Ragnarok, Laura Karpman’s
> The Only Girl in the Orchestra, Robert Lydecker & Kevin Lax’s
> Orion and the Dark, Emily Bear’s Our Little Secret, Pinar
> Toprak and team’s Our Living World, Frederik Wiedmann’s The
> Painted, Rupert Gregson-Williams’ The Perfect Couple, Richard
> Band’s The Primevals, Mark Mothersbaugh’s A Real Bug’s Life
> Season 1, Tom Holkenborg’s Rebel Moon - Part Two: The Scargiver,
> Uno Helmersson’s The Remarkable Life of Ibelin, Oil Julian &
> Nick Foster’s Renegade Nell Season 1, Johan Söderqvist’s Ronja
> the Robber’s Daughter Seasons 1 & 2, Christophe Julien’s
> Saint-Ex, Joe Hisaishi’s Silent Love, Lauri Porra’s
> Stormskerry Maja, Evan Call’s The Swallows Don't Come Back,
> John Powell’s Thelma the Unicorn, Christophe Julien’s This Is
> the Goat!, Mark Mothersbaugh’s Time Bandits Season 1, Pinar
> Toprak & Gerrit Wunder’s Tomb Raider: The Legend of Lara Croft
> Season 1, Hans Zimmer, Omer Benyamin, and Steven Doar’s Twilight of the
> Gods, Joseph Shirley’s The Underdoggs, Christophe Beck’s
> Unfrosted, Rupert Gregson-Williams’ The Union, Abel
> Korzeniowski’s The Watchers, Thomas Newman’s White Bird, and
> Piernicola Di Muro’s A World Apart.
> Eh: Lorne Balfe’s Bad Boys: Ride or Die, Steve Jablonsky’s
> Borderlands, Volker Bertelmann’s Conclave, Lorne Balfe &
> Kevin Riepl’s Decoded, Hans Zimmer, Lorne Balfe, 11 assistants, and
> Corvus Corax’s Dragon Age: The Veilguard, Amaury Chabauty’s The
> Dreamer, Dave Porter’s Echo, Nicolás Repetto’s Empire Queen:
> The Golden Age of Magic, Daniel Pemberton’s Endurance, Fabio
> Frizzi’s Flaminia, Fabrizio Mancinelli’s Here After, Ramin
> Djawadi’s House of the Dragon Season 2, Joseph Shirley’s Killer
> Heat, Jacob Shea & Sara Barone’s Minecraft Education: Planet
> Earth III, Robin Carolan’s Nosferatu, Wilbert Roget II’s
> Pacific Drive, Trent Reznor & Atticus Ross’ Queer, Mark
> Mothersbaugh’s [REDACTED], Lorne Balfe’s Sherwood Season 2,
> Aaron Zigman’s The Six Triple Eight, Steffen Thum’s
> Slingshot, Andrea Farri’s The Tearsmith, and Roque Baños’
> Valley of Shadows.
> Meh: William Marriott’s Beacon 23 Season 2, Martin Phipps’ Black
> Doves Season 1, Lorne Balfe’s Carry-On, Mark Baechle’s Edge
> of Space, Christophe Beck’s The Instigators, Mark Mancina’s
> Juror #2, Benjamin Wallfisch and the Galperines’ Kraven the
> Hunter, Lorne Balfe’s Off the Grid, Atticus Ross, Leopold Ross,
> and Nick Chuba’s Shōgun, Tom Holkenborg’s Skull and
> Bones, Jason Graves’ Still Wakes the Deep, Steffen Thum’s
> Stockholm Bloodbath, Ramin Djawadi’s 3 Body Problem Season
> 1, and Winifred Phillips’ Wizardry: Proving Grounds of the Mad
> Overlord.
> Oh dear: Naoki Sato’s 6 Lying University Students
> The anti-score: Furiosa: A Mad Max Saga
> One other random thought
> 2024, the year I got away with making a crass joke about Dimitri Tiomkin’s
> rear end. I guess this place isn’t that smutty after all!
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