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Thread: Jurassic World 2 Mattel Toys

  1. #1681
    Elfman is an incredible composer. I put him near the top, but you've got to give king to Williams, hands down. His themes are so recognizable that the movies themselves would be shells without this excellent understand of character, mood and tone. People always forget he did Superman! I'm a huge fan of Michael Kamen's Robin Hood: Prince of Thieves score, I think it's one of the most uplifting pieces of music ever created. I get so pumped up listening to the intro of that movie. It's been used in the Olympics and such for good reason, but I think he's largely forgotten. He also helped to write the excellent Bryan Adams song that accompanied the movie and even incorporated that theme into his own compositions in the movie. Great cross-pollination there. I also think Alan Silvestri's Back To The Future score is in my top 3. It's absolutely incredible that music can take you on the same kind of ride as the DeLorean! He has an impeccable feel for that movie and the magic behind it. I honestly think he brings out the "magical" feel of discovery in that film. To top these stalwarts off, I have to give nods to James Horner (passed away too soon) and Jerry Goldsmith. Between those two guys there are years of memorable themes. Hans Zimmer is great, he is very much a minimalist, but I also feel he's got WAY too much ego, so I tend to give him less credit. His Batman scores are moody and capture the tones of the films, but Elfman's absolutely crushes it with the adventure and action feel. Elfman even argued that THE "Batman" theme is his. It should have never changed, just like 007. You'll always get the same spy track with any James Bond film and it's so iconic. I hate Joel Schumacher for literally abandoning everything Tim Burton and Danny built. Love the Lost Boys and a few of his others, but my goodness he trashed Batman.
    "you've taken your first step into a larger world"

  2. #1682
    Apropos of nothing, I think Joel Schumacher gets too much flak for Batman Forever and Batman & Robin. The fact none of his other movies even remotely resemble their flavor of, um, eccentricity (for God's sake, the movie he made after Batman & Robin was 8mm, a dark and gritty thriller written by Seven's Andrew Kevin Walker). tells me the look and tone of the films was Warner Bros.' mandate and Schumacher just did what he was told. What I call the "font fallacy" (the idea that everything in a film springs from a single creative vision) causes people to pin everything on Schumacher because he was the director, forgetting the involvement of people like producers... producers like Tim Burton, the guy whose vision Schumacher supposedly destroyed; he was the producer on Batman Forever.

    Ergo, as producer, Burton had some say - a lot, probably - on how the film went. And yet he gets let off the hook, even these days after many of Burton's more terrible films are nothing but less colorful renditions of the same kind of campiness we saw in Batman Forever. Plus, in hindsight, I don't think Batman Returns was really that great and that a lot of the problems with Batman Forever and Batman & Robin started there, with it, IMO.
    Last edited by Kooshmeister; 09-18-2019 at 08:29 AM.
    "I mean, really, how many times will you look under Jabba's manboobs?" - bkusna

    Black Series 6" Wish List: Aemon Gremm, Moff Jerjerrod, Death Star Gunner, Ponda Baba, Dr. Evazan.

  3. #1683
    Off topic, but a great conversation regarding my other movie love...movie music. I’m older than most of you, and before you could buy the CD’s or LP’s...many scores weren’t even available. Like The Poseidon Adventure. Way back in the day, I used to tape main title theme music off the TV speaker with a reel to reel tape recorder. Among my favorite film scores...The Blue Max(Goldsmith), Glory(Horner), and the whole Mission episode of Amazing Stories (John Williams).
    Quote Originally Posted by MysterioMaximus View Post
    I remember kids listening to Blink 182 or Green Day and there I am in the corner jamming movie soundtracks. Hah! On man, those are some epic scores. Elfman may be my favorite mainstream film composer. Decent into Darkness from the Batman (1989) score is my favorite track from that album and honestly, one of my favorites he's ever done. It's amazing to me that we've had so many iterations of Batman since then and yet, when you think of the Batman theme, it's THAT theme! I always loved the beautifully haunting qualities of his scores, but I also really like when he does suburbia themes. His work on Pee Wee's Big Adventure, Beetlejuice, Edward Scissorhands, Batman Returns, and so many others. So over the top quirky and it really fit with how Burton (usually his main collaborator) depicts "Leave It To Beaver" style normal Americana so juxtaposition with his macabre goth outsiders. I'm also a huge fan of Howard Shore and his Rings score in particular. The sheer emotion he evoked in the music I really think enhanced the film to otherworldly levels. The Departure of Boromir is a great example. I wept! Another I love for bigger names is, of course, Hans Zimmer. While I do love his Batman scores as well, it's not Elfman. But where Zimmer really shines is other places like Gladiator, Inception, Last Samurai is a terribly underrated score. Every once in a while, I'll even love a soundtrack to a movie I utterly hate! Honestly, I feel embarrassed to say this but...I think the first Transformers score is incredible. You just have to disassociate it with that franchise. Williams of course is one of the Gods of the field. Jaws, ET, Close Encounters, Star Wars, Indiana Jones, Jurassic Park, and Harry Potter are all so iconic, but I really enjoy some of his lesser talked about too. The Hymn from Saving Private Ryan is stunning. I always play the Home Alone score on Christmas. The Hook score still makes me miss childhood. Film scores are actually what I listen to THE most. I've became like a master at film score trivia. Hah! I could talk all day, I didn't even mention so many I love.

  4. #1684
    Alan Silvestri’s Back to The Future theme was practically the anthem for awhile at Universal Studios Florida. When Wolf Trap in Vienna, VA performed the first BTTF score live to the film...Alan Silvestri & Lea Thompson were the special guests, and I got their autographs on the BTTF CD. I also met Michael Giacchino there on a Saturday at a talk he gave. Fantastic guy, and just as big a movie buff as us. He worships JW, too.
    Quote Originally Posted by SaberSonic83 View Post
    Elfman is an incredible composer. I put him near the top, but you've got to give king to Williams, hands down. His themes are so recognizable that the movies themselves would be shells without this excellent understand of character, mood and tone. People always forget he did Superman! I'm a huge fan of Michael Kamen's Robin Hood: Prince of Thieves score, I think it's one of the most uplifting pieces of music ever created. I get so pumped up listening to the intro of that movie. It's been used in the Olympics and such for good reason, but I think he's largely forgotten. He also helped to write the excellent Bryan Adams song that accompanied the movie and even incorporated that theme into his own compositions in the movie. Great cross-pollination there. I also think Alan Silvestri's Back To The Future score is in my top 3. It's absolutely incredible that music can take you on the same kind of ride as the DeLorean! He has an impeccable feel for that movie and the magic behind it. I honestly think he brings out the "magical" feel of discovery in that film. To top these stalwarts off, I have to give nods to James Horner (passed away too soon) and Jerry Goldsmith. Between those two guys there are years of memorable themes. Hans Zimmer is great, he is very much a minimalist, but I also feel he's got WAY too much ego, so I tend to give him less credit. His Batman scores are moody and capture the tones of the films, but Elfman's absolutely crushes it with the adventure and action feel. Elfman even argued that THE "Batman" theme is his. It should have never changed, just like 007. You'll always get the same spy track with any James Bond film and it's so iconic. I hate Joel Schumacher for literally abandoning everything Tim Burton and Danny built. Love the Lost Boys and a few of his others, but my goodness he trashed Batman.
    Last edited by jedisquared; 09-18-2019 at 11:42 AM.

  5. #1685
    Get a load of this joker: https://www.ebay.com/itm/PREMIER-LIS...sAAOSw~L1dgbDa

    $50 starting bid. $99 Buy-It-Now. I know he's the only one offering them on eBay (this wave isn't out yet), but dang. sure is thinking he can make bank on the fact he has a friend in Mattel's shipping department who got him these new battle damage Explorers early.
    Last edited by Kooshmeister; 09-20-2019 at 05:01 AM.
    "I mean, really, how many times will you look under Jabba's manboobs?" - bkusna

    Black Series 6" Wish List: Aemon Gremm, Moff Jerjerrod, Death Star Gunner, Ponda Baba, Dr. Evazan.

  6. #1686
    Quote Originally Posted by Kooshmeister View Post
    Apropos of nothing, I think Joel Schumacher gets too much flak for Batman Forever and Batman & Robin. The fact none of his other movies even remotely resemble their flavor of, um, eccentricity (for God's sake, the movie he made after Batman & Robin was 8mm, a dark and gritty thriller written by Seven's Andrew Kevin Walker). tells me the look and tone of the films was Warner Bros.' mandate and Schumacher just did what he was told. What I call the "font fallacy" (the idea that everything in a film springs from a single creative vision) causes people to pin everything on Schumacher because he was the director, forgetting the involvement of people like producers... producers like Tim Burton, the guy whose vision Schumacher supposedly destroyed; he was the producer on Batman Forever.

    Ergo, as producer, Burton had some say - a lot, probably - on how the film went. And yet he gets let off the hook, even these days after many of Burton's more terrible films are nothing but less colorful renditions of the same kind of campiness we saw in Batman Forever. Plus, in hindsight, I don't think Batman Returns was really that great and that a lot of the problems with Batman Forever and Batman & Robin started there, with it, IMO.
    Really fascinating thing about that. The biggest detriment to the 3rd and 4th Batman films extended far beyond Schumacher. Now I would say, in a manner of speaking here, Burton is part responsible...but NOT because he was producer. He actually barely had any say on Forever, if anything he's JUST credited as and did essentially nothing whatsoever, but the reason Forever ended up the way it did was largely due to HOW Burton made Batman Returns. With the success of Batman (1989), the studio heavily interfered in the production on the flick. Burton originally just wanted Catwoman as the antagonist. The studio wanted more "face" characters, particularly the Penguin, the ideology being the more included the more merchandise can be sold. As much as I hate to say it, outside of Star Wars, the original Batman franchise may be the most merchandise fueled film franchise out there. Apparently Burton made a sort of compromise. He'd include Penguin, but it had to be done his way, hence why he's so drastically different from his comic iteration.

    I've always argued 89 was the right balance of Burton and Batman, but Returns was too much Burton and too little Batman. I like Returns, but I don't love it as a film. It has moments I find utterly brilliant, but then it has moments I find downright cringe awful. Due to the context of the film, it caused a huge controversy. Back in those days, a superhero movie was always assumed to be kid-friendly. The notion of a Rated R Joker, coming out in a few weeks, was a pipe-dream in those days. Comics are immature stuff for babies, right? It was this sort of ignorant casual perception that caused that huge controversy! What really murdered the Batman franchise was...believe it or not...McDonald's. To promote the second Burton installment, they had corresponding Happy Meal toys. I remember owning some myself. Once adults took their children to see the film however, they deemed it highly inappropriate. This caused country-wide outrage when the suburban soccer moms saw that grotesque attempted child murdering sewer mutant or the highly ****** femme fatale dominatrix (still my favorite film Catwoman) with their kids chicken nuggets. McDonald's pulled the plug and recalled the toys. Due to this, Warner Brothers was furious. This legitimately caused WB to basically ax Burton (but attempt to save face by giving him a producers credit) and hire Schumacher as well as go with a more "family-friendly" atmosphere more akin to the 66'' television show. It also helped popularize the industry term "toyetic," because clearly Forever and Batman and Robin's immediate concern was not with story but rather in commercialism.

    As for Schumacher, he's not entirely responsible, but he's def. more to blame than Burton. He certainly didn't improve matters on the films. So really, the blame for the last two Batman films in the original series can be finger-pointed to a lot: Schumacher for his "yes man" attitude and love of the flamboyant, Warner Brothers for axing Burton and placing emphasis upon marketing before script, Burton for maybe going a bit too far with his Burton-ism on Returns, the public for having a pedestrian knowledge of what a superhero story can be or even basically demanding what it should be, and McDonald's who conceded to that social demand that ultimately influenced Warner Brothers to entirely rethink the franchise.

    Quote Originally Posted by jedisquared View Post
    Off topic, but a great conversation regarding my other movie love...movie music. I’m older than most of you, and before you could buy the CD’s or LP’s...many scores weren’t even available. Like The Poseidon Adventure. Way back in the day, I used to tape main title theme music off the TV speaker with a reel to reel tape recorder. Among my favorite film scores...The Blue Max(Goldsmith), Glory(Horner), and the whole Mission episode of Amazing Stories (John Williams).
    Great picks! My dad used to often listen to the scores from the Universal Monster films. I've always been a big fan on the Kong score as well as, of course, Ennio Morricone for the older stuff. I also love the scores of Bernard Herrmann maybe most especially. He did fantasy and horror so well. His work on Jason and the Argonauts or 7th Voyage of Sinbad is basically the equivalent to what Howard Shore did for LOTR now, he did back then. But where he really gets me? His Twilight Zone stuff! That stuff is downright incredible. There's a more contemporary (not new per se but more recent) film I adore called the Machinist that has a score I often listen to. It's VERY reminiscent of Herrmann's Twilight Zone tracks.

    But to get back on topic, where do you guys stand on the scores for JP///, Jurassic World, and Fallen Kingdom? For me, I enjoy some of the JP/// and Jurassic World score, although I do think the JP/// main "Kirby family" theme is a bit overly family-friendly "feel good" in nature. I will say, the scores for the film have never been AS good as when Williams was doing them. That's for sure. But I enjoy some tracks.

    Also the Sarcosuchus is growing on me. Totally! I think I will pick it up.

    Now here's my question: Nowhere did I see a Nasutoceratops on InGen's list or on Masrani Global's map. It's not in any other movies either. So...is it just as simple as they just wanted to include a new dinosaur in the short and it was in the park just never seen (more that likely)...or...could there be more to it? Now that the animals are out there, we know OTHER genetics companies will also be engineering dinosaurs all across the globe. Some have been theorizing that Biosyn, the evil competitor to InGen from the Crichton books, could have made the Nasutoceratops and that they'll be included in the next film. Personally? I'd love that! Anything that can bring in more of the novel lore I'm all for.
    Last edited by MysterioMaximus; 09-20-2019 at 11:21 AM. Reason: Bu
    'But I don’t want to go among mad people,’ Alice remarked. ‘Oh, you can’t help that,’ said the Cat: ‘We’re all mad here. I’m mad, you’re mad.’ ‘How do you know I’m mad?’ said Alice. ‘You must be,’ said the Cat, ‘or you wouldn’t have come here.’ - Lewis Carroll 'Alice's Adventures in Wonderland'

  7. #1687
    local Target has two brachi in stock but will not sell them until Oct 6

  8. #1688
    Quote Originally Posted by vaderpunk View Post
    local Target has two brachi in stock but will not sell them until Oct 6
    Dumb marketing restrictions strikes again!
    Just like the time I could have met Mr. T at the mall. The entire day, I kept saying, "l'll go a little later, I'll go a littler later..." And when I got there, they told me he just left. And when I asked the mall guy if he'll ever come back again, he said he didn't know. Well, I'm never going to let something like that happen again!

  9. #1689
    And yet again, Mattel manages to step on their own feet and **** off collectors more - plenty of JW releases. You can get the amazing Indominus RIGHT NOW, in fact, for a month+ since at this point yet when it comes to a legendary wanted item like the Brachi, they are restrictive? Why? Like seriously, what is Mattel's incentive to hold back this item? ZERO. It's a stupid business decision any way they slice it. There is nothing to release or a film dropping that they are anchoring the figure to, it's just deliberate conservatism towards Legacy Jurassic Park stuff. They did the same stupid thing with Malcolm instead of releasing him right with the other 3. It was asinine and you saw the results when he ended up 20 deep on shelves. People didn't care anymore at that point. Now it just makes it easier for scalpers to plan accordingly to sweep up all the stock at once and resell online. Thanks so much for caring, Mattel!
    "you've taken your first step into a larger world"

  10. #1690
    2 more stores not so close but says limited stock probably 2 per store.I think Target is the problem.

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