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| There are 528 Reviews Done |
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James Horner, Will Jennings James Horner - Land Before Time, The
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| You wouldn't know this is a kids film. |
| By: |
AdamR
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| Date: |
24 Jul 2009 |
| Rating: |
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You hear the sweeping violins playing a thematic tune on the album, while Diana Ross sings of working together to make dreams come true. Powerful kettledrums shake your speakers in action scenes. Oh, and did I mention this orchestral work of art is the underscore to a film made for seven year olds? If you knew nothing of the film, the tile, or the track names, you'd be hard pressed to believe it.
James Horner in his early animated film score career gave us two formidable scores--An American Tail and the Land Before Time, both of which were directed by ex-Disney animator Don Bluth. Horner's later animated film offerings don't stand up to these earlier scores, which are often considered to be some of the best Horner has done in his career.
The Land Before Time's music is a mix of soft strings, bold brass lines, and fierce action cues when the movie calls for it. "Sharptooth and the Earthquake" is a huge track incorporating all of these pieces of music, starting slow and soft as Littlefoot's mom explains of the treestars, and rising to a full, fierce action cue as Littlefoot almost becomes a T-rex's dinner. "Whispering Winds" is the score's slowest and softest track, bringing an instrumental version of "If We Hold on Together" into the mix to explain not only the death of a parent, but also the friendship of others to reach a goal. The grandest piece of the entire score is the latter half of a 12-minute track titled "Rescue/Discovery of the Great Valley" when the T-rex is defeated on the clif with a strong brass motif, and later when the young dinosaurs find the Great Valley and the main theme of the film is played in all its glory with a full orchestra of strings, woodwinds, and choir.
This score is not easy to find being long out of print, and paying over $50.00 for a copy is not unusual. Horner fans and soundtrack fans have long cherished this album. If you can find a copy for yourself, melt away as the sweeping themes of the Land Before Time envelope you into a melodic musical expeience.
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3 of 3 found this review helpful |
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John Barry - Raise The Titanic
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| Raise the Titanic - The Missing Score |
| By: |
AdamR
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| Date: |
23 Jul 2009 |
| Rating: |
 |
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Report has it that John Barry's score to Raise the Titanic was lost and the original tapes could not be found to make a soundtrack to release to the public. Nineteen years following the film's creation (and flop at the box-office) the City of Prague Philharmonic along with conductor Nic Raine and John Barry himself, recreated one of Barry's lost scores.
Recorded with some of the best equipment available, and available as a high-definition CD (HDCD), the score of Raise the Titanic sounds stunningly beautiful as if you are on the stage and the orchestra is playing the music in front of you. The highlight of the album is the powerful theme for the Titanic as heard in "Prelude", "Raise the Titanic", "The Titanic Enters New York Harbor", and "Thank God for Southby & the End Credits". This theme represented the Titanic in all her glory as passengers entered and sailed on the largest floating vessel at the time of her building, and represented in the film's Prelude of black and white film reel of the Titanic. Additionally, the theme fits the resurrection of one of the most memorable wrecks of the century as the Titanic rose out of the water on screen. While historically inaccurate today, in 1980 the thought existed that the Titanic might have sunk in one piece and this information is clearly introduced (and needed) to make this scene work in film.
Aside from the main theme, a large portion of Barry's score focuses on the mysterious searching theme as the team tries to find Titanic underwater. This theme is repeated many times in the middle of the score, and it does seem dull and repetitive after a while. Also, the score of "Memories of Titanic" is sad and depressing as an alto sax solo quietly reminds viewers of the sad tragedy of the Titanic disaster.
The main theme of the Titanic as presented by John Barry deserves a solid 5/5, and I feel it even fits the prominence of the great liner better than Horner's representation in the 1997 film. However, the repetition of the basic "searching theme" is far less exciting and memorable.
-Adam R.
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3 of 3 found this review helpful |
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John Williams - Jurassic Park
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| Jurassic Park - THE Dinosaur Film Score |
| By: |
AdamR
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| Date: |
23 Jul 2009 |
| Rating: |
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Honestly, who does not know or recognize the powerful, in-your-face trumpet theme from Jurassic Park as you fly towards Isla Nublar for the first time? Like John Williams' theme for Indiana Jones, the brass section of the orchestra is utilized heavily for the main themes and action themes of Jurassic Park and he made a smart choice. Dinosaurs are big, dinosaurs are unique, and dinosaurs still are very mysterious and interesting to many people. The film released in 1993 gave moviegoers the chance to at least believe that dinosaurs might one day be able to walk the earth once again.
Williams created two main themes for Jurassic Park - the bold brass theme heard in "Journey to the Island" and the first half of the "Welcome to Jurassic Park" track, but also a lesser softer theme represented by the string section of the orchestra heard in the latter part of the "Welcome to Jurassic Park" track. These themes showed viewers dinosaurs in two lights - in awe of the spectacle, and dinosaurs in a natural state. These are easily the most recognized and most familiar pieces of the soundtrack.
Williams also includes much of his famous 'action music' full of horn blasts and rapid string playing in "Incident as Isla Nublar" and "T-Rex Rescue and Finale". The quieter side of the film can be found in the softer chimes of "A Tree for My Bed" and the reminiscing of a dream lost in "Remembering Petticoat Lane" when Hammond realizes a dinosaur theme park just was not going to work.
Jurassic Park is easily one of my recommended scores for any new film buff or soundtrack collector. Its a good way to get introduced into the world of John Williams.
-Adam R.
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10 of 10 found this review helpful |
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Trevor Jones - Dinotopia
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| Dinotopia - The MiniSeries Soundtrack |
| By: |
AdamR
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| Date: |
23 Jul 2009 |
| Rating: |
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Just how many islands have dinosaurs on them in Hollywoodland? If you ask James Gurney, creator of the book series, Dinotopia, he'd likely say there's at least one more aside from the dinosaurs we read about in Crichton's Jurassic Park.
Dinotopia the miniseries was a take on Gurney's Dinotopia with a few creative differences. These differences left some bad tastes in Dinotopia fans' mouths, having the film deviate from the books they read many years before. I personally didn't find the miniseries to be that bad because all movies must deviate from books in some manner to make the visual scenes work.
However, one thing producer Robert Halmi got correct was his choice of a majestic music score composed by Trevor Jones. Performed by the London Symphony Orchestra, argurably one of the best in orchestral performances, the music of Dinotopia is full, strong, and thematic.
The main theme of Dinotopia is presented approximately three times in the soundtrack in its bold glory--the main theme track, Codes of Dinotopia, and Ceremony of the Sunstones. At least two other themes are present in Jones' score--the skybax flying theme composed of trumpets and horns, and the theme for the World Beneath, a very subdued, quiet theme.
Overall, the music of Dinotopia stands well on its own, yet fit the action on scene decently. This is after all, a fantasy film, and Jones' powerful score layers and elaborates on the mystic fantasy world of Dinotopia.
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1 of 1 found this review helpful |
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Mike Batt - Watership Down
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| Watership Down (2000 TV Series Soundtrack) |
| By: |
AdamR
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| Date: |
23 Jul 2009 |
| Rating: |
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Twenty years following the original Watership Down film, director Martin Rosen created a television series about the rabbits so descriptively written about in the book of the same name by Richard Adams. Mike Batt, who wrote the famous "Bright Eyes" song from the film version was hired to compose the score to the tv series.
Batt focuses on a new theme for the tv series centered around a love song titled "Thank You, Stars". This love theme is reprised in the score a few times, notably in "Fantasia on a Flying Theme". Batt didn't abandon his old popular tune as the Bright Eyes theme is heard many times in the score as well, and the soundtrack includes at least three vocal versions of the song, the most unique coming in a choral arrangement.
Overall, this score is extremely difficult to find. I was very lucky to chance upon a copy many years back for a reasonable price. While "Thank You, Stars" lacks the darkness and mysteriousness of "Bright Eyes", the lighter tone of the music better fit the target audience Rosen hoped to reach with this new adaption of Watership Down.
- Adam R.
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2 of 2 found this review helpful |
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Danny Elfman - Desperate Housewives
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| Elfman - fallen music hero |
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elfman gets weaker over the years. this theme has no direction or purpose nor does it feel like it conveys anything to do about the show to the listener. its just a mess of randomness in the lazyness of elfman riding over the legacy of his former shadow. same goes for salvation and his works over the recent years.
i feel sad as men in black, hulk and spidermen were perhaps his last decent works. its ironic that the 10 second lost theme by jj abrams in its short length and simplicity outdoes elfman as it's able to tell the view a better feel for what the show is.
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1 of 1 found this review helpful |
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Kris Carter - Batman Beyond: Return Of The Joker
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| Smoother listening, but where’s the Batman theme? |
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If you couldn’t stand the electronic sound on the Batman Beyond soundtrack, this will come a little easier to your ears. The electronics and guitars are still there, but they’re tempered with an orchestra, which makes it much better listening. I am disappointed, however, that the composer doesn’t use any of the themes from previous animated Batman outings. It’s surprising, since this all takes place in the same universe and usually with the same team of composers. What’s here is good, conveying drama, action, and excitement, but I miss the original themes for the sense of continuity.
In fact, even the Batman Beyond theme is not really used in this score, but given a variation, which you can hear in the “Main Title.” The Batman Beyond sound is definitely here, on tracks like “Joker Crashes Bruce’s Party” or “Batman Defeats the Jokerz,” which are pure electronic crunch. I find these tracks less interesting than the ones which combine the metal guitars with a symphonic sound. The best example of this is “Industrial Heist,” which has a nice balance between the two ideas and some kicking drums. A track like “Nightclub Fight/Terry Rescues Bruce” simply switches from electronic to symphonic, and despite a rousing bit in the last 90 seconds, isn’t that great. For better dramatic music, request “Terry Relieved of Duty.” (Though if you just wait, chances are I’ll request it. It’s my favorite.)
Tracks 7-9 represent a flashback sequence, which takes place during the old days of Batman and Robin, and it’s here that the lack of Shirley Walker’s themes, especially for Batman and the Joker, are most keenly felt. These tracks avoid the electronics entirely. “A Trap for Tim” is short and heroic, while “Joker Family Portrait” is a goofy, cartoony piece that ends on a sinister, creepy note.
The album finishes off with more of the electronic stuff from before. Musically, this is a better album than the original Batman Beyond, but I think it could have been better.
Request: “Terry Relieved of Duty” is my favorite for its dramatic strings, especially at the end. “Industrial Heist” gives a nice balance between the electronic and symphonic halves of the score. You might also try “A Trap for Tim” and “Joker Family Portrait.”
Avoid: “Batman Defeats the Jokerz.”
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3 of 3 found this review helpful |
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Ennio Morricone - Thing, The
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| Best Horror Ever!!! |
| By: |
diabel
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| Date: |
2 Jul 2009 |
| Rating: |
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My best horror Ever! When I see this movie I have 14 years and still scared me!!! It's very terrifed!!! Cold, Ice and no escape!!! You best friend may be you Worst Enemy!
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2 of 3 found this review helpful |
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Alan Silvestri - Van Helsing
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| Review of the review |
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LadyInque, I really like the way you end most of your reviews; i.e., with the Request and Avoid along with why.
I hope people search out some of your other reviews - they are excellent!
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1 of 1 found this review helpful |
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Alan Silvestri - Van Helsing
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| A far better score than the film deserves |
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Of course, in this case, the score being better than the film really isn’t saying much. Alan Silvestri wrote his heart out, writing music with a big, gothic sound and thunderous choir. This is, after all, a big, loud, movie. After a while, the tracks start to blend into each other, and the score gets boring quickly. Granted, that doesn’t happen if you’re listening one track at a time here at SST, but you may have trouble finding the more interesting tracks. Overall, I think this is a good score, but the CD is too heavy on the action music.
The album does not start off softly. “Transylvania 1887” is brassy and bombastic, and “Burn it Down!” picks up where the previous track left off, thereby setting the tone for the rest of the album. By “Werewolf Trap,” you really get the picture.
So here’s what’s different. For scenes of characters traveling, Silvestri uses a nifty flamenco guitar. It has nothing to do with the Transylvanian setting, but convey the excitement nicely. There is also some lush romantic music, which shows up in “Reunited.” It’s not subtle; little on the album is, but it gives a nice break between the headache-inducing action tracks. And I like “All Hallow’s Eve Ball,” which underscores the (standard, by now) scene of a vampire’s ball, complete with heroine in a red dress. The sweeping waltz is, perhaps, a cliché, but it works.
Request: “Journey to Transylvania” “All Hallow’s Eve Ball” “Reunited”
Avoid: “Dracula’s Nursery,” because it’s dull. I know that I complain about a lack of subtlety in this score, but while this track was playing, I honestly thought something was wrong with my speakers.
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6 of 6 found this review helpful |
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