Can't say I'm too impressed with his Tintin score

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It appears (and apparently so), that both of you guys are clearly not listening to the actual music, and are just interested in a huge Theme (ala Star Wars, INDY, or Harry Potter...which actually wasn't well recieved until later on in the franchise). If you sit down and really study Williams' music, though I can only speak for myself, I found it to be a HUGE success and incredibly innovative. It essentially is a wonderful summary of Williams' style throughout his career, while at the same time completely fresh and original. Certainly if you don't like Williams' music, I doubt you'd enjoy this, but if you are a fan of his music, Tintin is a great score. to me its fascinating to see how Williams' sound in Tintin in many parts, is a huge throwback to Temple of Doom and The Last Crusade. Essentially Tintin is his writing from 1989-1993, with a little bit of his modern stuff thrown in, but not as much as I thought. To me this was more of an INDY score then INDY4 was, and if this is the indecation of his style of writing for the next decade (or however long), then I think we are in for a great treat! For help read the review of both

http://moviemusicuk.us/

and

http://www.filmtracks.com

Again, if you're not a fan of Williams' style at all, then there's probably no hope that Tintin would change your mind. But if you enjoy Williams, or sick the ERA of Remote Control Hans Zimmer/Steve Jablonsky "sound," then detox and cleans your speakers out with John Williams' The Adventures of Tintin

X-Country, I think the difference between you and me is that you are attractive to the hustle bustle of Williams music. I'm a person who craves simply for "innovative" melodies, or themes as you put it, ones that are original and that, if you recall, would basically make UP great OST's of the past. I don't see any of that here. I am a fan of Williams' music for their beauty and ability to draw emotion from me. I've never cared for the light-hearted quirky music he's made.

CDEGFEDCC. (Shhh!)

Yes, you are somewhat correct, I am attracted to the loud, complex Williams in action mode, especially being a player of this genre of music, to stop and listen to every note as each section of the orchestra goes to and fro excites/blows my mind. Perhaps I'm a simpleton, especially compared to the obvious expertise you radiate. Yes, I love his memorable themes/leitmotifs from yesteryear, and crave more, but frankly War Horse did that for me anyway. I've made peace with the fact that "Star Wars" scaled themes are gone for a while in the Hollywood scene. Studios don't want them, filmmakers overall don't want them. So frankly with that in perspective, Tintin succeeded for me, because if you take the 11 note main motif for tintin hear during his more heroic moments, its actually quite infectious and memorable. I can certainly wistle it and have no problem remembering how the notes are supposed to sound. On top of that, the "hustle bustle," that elitists don't seem to enjoy (why I'll never know, for what may seem like noise is actually incredibly preplanned and purposed notes, if you look at it from that perspective there's a lot to enjoy), if far less unorganized than most of his 2000 era scores, and the the orchestrations are what we've come to love with a Williams adventure score. That's what this is, I'm not sure what else you're looking for, but perhaps you should stop listening to Williams' releases and stick to the Hans Zimmer "power anthem" if you looking for simplified themes, rather than extremely detailed, complex writing.

Tintin succeeded for me, because if you take the 11 note main motif for tintin hear during his more heroic moments You mean like when Tintin catches the falcon? I agree, it was the high point of the music.

"I'm your huckleberry."-Val Kilmer as Doc Holliday in Tombstone

Spoiler alert please! Geeze..