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| There are 528 Reviews Done |
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Brian Tyler - Children Of Dune
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| Simply a wonderful score |
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This score was written for a Sci-Fi Channel miniseries, a sequel to Frank Herbert’s Dune on the same channel. The story is an epic tale of empires, conspiracies, and mysticism. Compared to the previous movie, Children of Dune is clearly the superior adaptation. The score by Brian Tyler was probably one of the best of that year and is deservedly popular. Since its release, the score refuses to fade away, making appearances in lots of movie trailers.
The album opens with “Summon the Worms,” which is a majestic, martial track. The melody of this track is reminiscent of the “Force” theme in John Williams’s Star Wars score, in that it is usually presented quietly and mournfully (“Dune Messiah” / “Binary Sunset”) but once is a while gets to kick butt (“Summon the Worms” / “Throne Room End Title.”) “The Jihad” is a similar track to “Summon the Worms,” but with less build-up and a gutsier, brassier statement of the theme. I prefer it, but only because I know both. The music for House Atreides is also a favorite of mine. The tracks which show this are “Main Title (House Atreides)” and “The Arrival of Lady Jessica.”
“Inama Nushif” is the one vocal track, and a favorite for many reasons. Not only does the track represent a pivotal scene in the movie, it is written in the fictional Fremen language. (At least, that’s what they say. I’ve read the book a dozen times and have no idea where Tyler’s getting any of it.) This music was also featured in the trailers and commercials for the movie to great effect. It’s haunting and lovely. “Farewell,” the track near the end of the album, gives an instrumental version of the song, which I recommend.
In addition to these, the remaining tracks tend more to the ethnic-sounding music for the Fremen, and slow, ponderous pieces that play when the rather dense plot unfolds.
Request: You can see from looking at the track listing what the really popular titles are. I recommend “Main Title (House Atreides),” “The Arrival of Lady Jessica,” “The Preacher at Arrakeen,” and “The Jihad.” If it’s the ethnic stuff you’re interested in, try “Trap the Worm.”
Avoid: None of the tracks on this album is awful. However, some of the short ones in the middle just aren’t as interesting.
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6 of 6 found this review helpful |
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Graeme Revell - Aeon Flux
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| Adequate score, pleasant if nothing special |
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According to what I’ve read on the internet, Graeme Revell was the third composer on this project, and had two weeks to write the score. That sort of thing is not a completely new story in soundtracks. The film is one that I like despite itself, and the score is one I like well enough. There are no themes here, nor development of themes, so if that’s what you’re looking for, keep looking.
There’s a lot of electronics, which shouldn’t surprise anyone, given the composer and the deadline under which he was working. Plus, this is a movie about a post-apocalyptic future in which mankind survives in one last city, trying to keep nature at bay. Electronic music seems to be in order. And yet, the music is not all weird sound beds and synthetic noise. Sure, there’s some of that, but there is also melody, and piano, and some moments of, well, maybe beauty is too strong a word. There is quiet, even hopeful music in places. Surprisingly, I think the action cues, like “Grenade! Monorail Chase” and “Good Boys,” turn out to be the least interesting. They seem to lack the rocking power I would expect them to have. Maybe it’s the recording, or it’s just that the electronic music lacks a certain energy.
Request “Bregna 2415,” “Torture Garden,” and “Aeon Flux.”
Avoid “Una Flux,” and “The Relical and Keeper.” The second track especially is more mood music than anything else, and pretty dull.
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3 of 3 found this review helpful |
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Thomas Newman - Lemony Snicket's A Series Of Unfortunate Events
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| A sad, strange movie with a score to match |
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Lemony Snicket’s A Series of Unfortunate Events is a fantasy movie (or a just plain weird one) about three children whose parents are killed. The orphans are sent to live with a succession of guardians, who range from the ineffectual to the downright dangerous. It’s a sad movie, but with moments of adventure and dark humor, and the score reflects that.
The sadness is shown in tracks like “Resilience” and “The Letter that Never Came.” While much of the music is sad, it also has a creepy vibe to it (that’s the celeste for you), which I like. It keeps the score from getting maudlin. The adventure and whimsy are best shown in tracks like “The Reptile Room.” (“The Wide Window” is essentially the same thing.) “Attack of the Hook-Handed Man” is about as action-driven as it gets. “Puttanesca” is pleasant, though I don’t think it’s real fun.
There are two odd tracks on this album. One is “Loverly Spring,” which I think was written as a direct parody of “Let’s Sing a Gay Little Spring Song” from the soundtrack to Disney’s Bambi. A slice of “Loverly Spring” also opens this album and is part of a fake-out opening sequence, which is a scene from an unrelated (fake) movie called The Littlest Elf. The cloying sweetness is a total joke, as close listening to the lyrics will show. The other weirdo is “The Marvelous Marriage,” which is a virtuoso accordion piece and a highlight of the album. Don’t let its short length discourage you. Maybe I’m biased because my dad played the accordion, but I think this track is a gem.
I think many people who own this score bought it for the end title, “Drive Away.” They were right to do so, and there’s a reason why this is a favorite. It has an entrancing, Indian sound. This is hinted at in the rest of the album, but this particular track very much stands alone. It was very effective when paired with the visuals of the end sequence, and conveys a sense of danger and strangeness. Very cool.
If you’re not sure what to request, I recommend “The Marvelous Marriage,” “The Reptile Room,” and “Drive Away,” though the other tracks mentioned above are also good. However, I would avoid “An Unpleasant Incident Involving a Train.” It gets played a lot because it’s long, but it’s ultimately a boring track that by no means shows off what this score has to offer.
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3 of 3 found this review helpful |
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Joe Hisaishi, Wakako Kaku Youmi Kimura - Spirited Away
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| Joe Hisaishi |
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For me he is one of the best composers, as with his music has succeeded carried to the drawn landscapes, as in the case of Spirited Away. Also makes the story more enjoyable. It makes sense to every note.
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4 of 7 found this review helpful |
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Paul J. Smith Frank Churchill, Leigh Harline, Harry Stockwell Frank Churchill, Adriana Caselotti, Adriana Caselotti Frank Churchill (...) - Snow White And The Seven Dwarfs
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| Beloved Classic finds its way onto CD |
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I have to first state that Snow White is my favorite Disney and I was excited to see that Disney finally decided to release the soundtrack after so many years. It is a great example of early Disney music that was dependent on good orchestrations and had prolific choral parts and of course the well known and loved songs sung by both Snow White and the Seven Dwarfs.
Included are all the great classic songs "Some Day My Prince Will Come" to "Hi-Ho" and the "Silly Song".
I think this is an excellent Disney album and am glad to see Disney officially releasing some of their older movie's scores onto CD. It brings back a lot of childhood memories and I have great joy to finally hear.
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7 of 8 found this review helpful |
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Michael Stearns, Inkuyo, Dead Can Dance (...) - Baraka
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| A challenge, a warning, a gift, a blessing |
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Taking its' title from an ancient Middle Eastern word, Baraka means 'a blessing', or 'breath of life'.
The soundtrack itself like the film takes you to a journey around the globe, inspired by various rituals and nature itself
It captures the very essence of man's relationship with the earth, both harmonious and catastrophic.
Baraka is a journey of rediscovery. It is the power, the beauty and the rage of life itself. It is the world we live in.
The sound of Michael Stearns' Mantra/Organics is very natural and the voice of Lisa Gerrard in The Seraphim is superb.
This was the first album that I requested here to add it when I was just a member. It was great to see it was added soon after my request.
So enjoy listening!
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3 of 3 found this review helpful |
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John Williams - Schindler's List
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| An awesome sad joy to listen to... |
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I must admit, I like all score by John Williams so far.
He knows how to set the emotion of the pictures showing in the movie. Talking about emotion.... What I remember of this movie is that the audience left deeply touched and silenced the theater. This was in my opinion the perfect combination of the pictures and the music in this movie. Just listen to the tracks and you will come to the same conclusion: An awesome sad joy to listen to...
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1 of 1 found this review helpful |
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James Newton Howard - Sixth Sense, The
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| A short but a creepy beautiful score |
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The American Society of Composers, Authors and Publishers (ASCAP) awarded James Newton Howard in 2000 in the category Top Box Office Films.
This nice short album gives you the creeps when listening to it. Especially tracks like Tape Of Vincent and Help The Ghosts / Kyra's Ghost.
It helps when you saw the movie but without seeing it, it gives you a good idea how you will be feeling seeing the movie.
If you do not own this album, try the request all tracks when available. And after that maybe you can share your comments by reviewing this album!
For those who know the movie:
(Spoiler:) When I was Cole, you could see my breath when listening to this score ;)
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Thomas Newman - American Beauty
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| Newman's Beauty |
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This sometimes odd uses of instruments reflects the movie perfectly.
Throughout the soundtrack there is much use of melodic percussions.
The best piano track for me is Any Other Name.
My favorite track is used in the opening theme Dead Already, which brings you in the right mood for listening the rest of the album.
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3 of 3 found this review helpful |
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Sting - Living Sea, The
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| This Soundtrack stings... |
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First time I heard this music was when I saw this documentary in an IMAX theater.
Together with IMAX specialist composer Steve Wood, Sting made a very nice soundtrack of this documentary.
I like the guitar solos used in the new arrangements of Why Should I Cry For You and the intro of Fragile gives me goose bumps.
Maybe with pictures in your head gives this soundtrack more dimension, but I think when listening and never seen the documentary, it still gives you a good idea what pictures you can expect.
Maybe not when listening to the dreamy Jellyfish Lake by Steve Wood. Divers are going to a special lake where they can find a lot of Jellyfish. And because they do not have tentacles, Divers can swim with them.
Enjoy!
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2 of 2 found this review helpful |
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