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| There are 528 Reviews Done |
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Joel McNeely, Richard Harvey, John Debney (...) - Varese Sarabande: A 25th Anniversary Celebration, Vol. 2
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| Missing Tracks |
| By: |
Twopop
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| Date: |
30 Mar 2007 |
| Rating: |
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Tracks removed from the VS 25th Anniv - Vol. 2 compilation set can be found in the playlist on their original soundtrack albums or other compilation albums:
01 – King’s Row – Main Title (Erich Wolfgang Korngold)
02 - Mr. Destiny - Mr. Destiny (David Newman)
04 - The Boy Who Could Fly - In The Air (Bruce Broughton)
05 - The Adventures Of Huck Finn: Main Title (Bill Conti)
08 - Mouse Hunt: Main Title (Alan Silvestri)
09 - My Dog Skip: Main Title (William Ross)
12 - Bed And Breakfast: End Credits (David Shire)
14 - Free Willy 3: Awakening (Cliff Eidelman)
15 – Welcome Home, Roxy Carmichael – In Her Limousine (Thomas Newman)
16 – I'll Do Anything – Matt (Hans Zimmer)
17 – War Of The Buttons - Front Titles (Rachel Portman)
18 – Lionheart - King Richard (Jerry Goldsmith)
01 – Deep Blue Sea – Aftermath (Trevor Rabin)
02 - Evolution - Our Heroes (John Powell)
03 - The 'Burbs: End Titles (Jerry Goldsmith)
04 - Dragonheart: A New Beginning - Main Titles (Mark McKenzie)
05 - Amazing Stories: The Mission - The Landing (John Williams)
07 - Kull The Conqueror - Kull The Conqueror (Joel Goldsmith)
08 - Terminal Velocity: Cadillac Freefall (Joel McNeely)
09 - Vertical Limit - Three Years Later (James Newton Howard)
10 - Drop Zone: Too Many Notes (Hans Zimmer)
11 - The Watcher – Driven (Marco Beltrami)
12 - Alien 3 – Adagio (Elliot Goldenthal)
14 - We're No Angels - Introduction And Main Title (George Fenton)
19 - Cool World - The Cool World Stomp (Mark Isham)
01 - Triumph Of The Spirit - Main Title (Cliff Eidelman)
02 - On The Beach: From The Beach, Silently Weeping (Christopher Gordon)
03 - The Last Butterfly: End Title (Alex North)
04 - Crossing The Line - End Titles (Ennio Morricone)
05 - And The Band Played On - And The Band Played On (Carter Burwell)
06 - It's My Party: It's My Party (Basil Poledouris)
07 - Careful, He Might Hear You - Main Theme (Ray Cook)
08 - Return To Paradise - Looking At You (Mark Mancina)
09 - Instinct - Everbody Goes (Danny Elfman)
10 - The Tailor Of Panama - Harry Pendel - The Tailor Of Panama (Shaun Davey)
14 - Guilty By Suspicion - End Title (James Newton Howard)
15 - White Palace - Main Title (George Fenton)
16 - Lover's Prayer - Main Title (Joel McNeely)
17 - Lovesick: Main Theme (Philippe Sarde)
18 - Zelly And Me: Zelly And Me (Pino Donoaggio)
01 - Dead Again - The Headlines (Patrick Doyle)
02 - Dolores Claiborne - End Credits (Danny Elfman)
03 - Pacific Heights - Part II (Hans Zimmer)
04 - Bloodline - Out Of The Past (Ennio Morricone)
05 - Bliss – Wedding (Jan A.P. Kaczmarek)
06 - Cruel Intentions – Pussy (John Ottman)
07 - Wild Things - Main Title (George S. Clinton)
08 - Presumed Innocent - Presumed Innocent (John Williams)
09 - Damage - The Last Time (Zbigniew Preisner)
10 - The Stars Fell On Henrietta - Theme And Variations (David Benoit)
11 - Rich In Love - Stop Thinking About Her (Georges Delerue)
12 - The Stand - Ain't She Beautiful (W.G. Snuffy Walden)
13 - Golden Gate - Golden Gate (Elliot Goldenthal)
17 - Othello - Main Title (Charlie Mole)
18 - Much Ado About Nothing – Overture (Patrick Doyle)
19 - Christopher Columbus: The Discovery - A Hero's Welcome (Cliff Eidelman)
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12 of 12 found this review helpful |
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Javier Navarrete - Pan's Labyrinth
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| Pan's Labyrinth - Surreal Fantasy Put To Music |
| By: |
bigg_al
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| Date: |
19 Mar 2007 |
| Rating: |
 |
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Javier Navarrete's score to Guillermo Del Toro's Pan's Labyrinth does an excellent job of taking you into a surreal fantasy world. For those not familiar with the movie, the story centers upon the encounters of a young girl with unreal (or perhaps too real) fantastical creatures and worlds as she tries to cope with a harsh life that's more than any child should have to deal with. The score starts with a lullaby of sorts that is hummed by a child. The melody is soft with a hint of sadness and despair and it sets the tone for the entire score. While listening you can't help but be drawn into the music the way the main character is drawn into her fantastical encounters. And just like the movie, things don't go as planned as the fantasy turns harsher and more threatening. It's not all rough, as there are parts of the score that are quite tender, reflecting the relationship between the main character and her mother. But eventually life rushes in and tenderness and fantasy are quickly interrupted by harsh reality and the music takes a more brassy, percussive turn. Pan's Labyrinth is the first work I've ever heard by Navarrete and it shows that he can hold his own with the best of them. The score covers a lot of territory and does it quite well. This is one score not to miss.
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13 of 13 found this review helpful |
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| A beautiful pair of Korngold concert works -- and the seeds of some of his most beloved film music |
| By: |
don0don
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| Date: |
16 Mar 2007 |
| Rating: |
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I was delighted to find that these works were available. If you enjoy the Korngold Violin Concerto, I think you'll love these works as well. Once you've listened, I hope you'll rate this album.
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2 of 2 found this review helpful |
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Hans Zimmer & James Newton Howard - Batman Begins
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| My favourite |
| By: |
GGvvSS
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| Date: |
5 Mar 2007 |
| Rating: |
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This album is my favourite one. A master piece by Hans Zimmer and James Newton Howard. Although many people were disappointed that the original "Batman-tune" was gone, I'm not. This is surely an improvement. By the way, did you notice that the first letter of the songtitles spell B-A-T-M-A-N, from the 4th on?
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12 of 16 found this review helpful |
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Basil Poledouris - Red Dawn
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| Basil does it...again. |
| By: |
chardok
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| Date: |
12 Feb 2007 |
| Rating: |
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How do you capture the musical essence of a movie without making it sound hokey or too cheesy? I don't know, not being a composer myself, but I just bet that if you ask Basil, he knows. The idea is this: Communists invade the american heartland, and amerca is getting her butt kicked, but enter PAtrick Swayze, Jennifer Grey, Lea Thompson, and Charlie Sheen to kill eleventy-billion thousand Filthy communists and liberate the universe from red oppression. Yeah, I know, it's playing to our base hatred and blind fears, but what better time to do it in. After all, we had Rocky, and by this time, he had already single-handedly toppled the soviets by beating up one guy, so why not a 10-man insurgency taking down one piddly little army?
Oh yes, the music. Captures the mood perfectly, the hopelessness of the initial invasion, the fight back from the brink...just a great listen, this is, and a shining jewel in the crown of Pouledaros (sp?) who gave us such classic albums as (both) Conans, and frigging Robocop! a five straight down the line!
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0 of 1 found this review helpful |
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Hans Zimmer And The Jigs - An Everlasting Piece
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| An Everlasting Piece |
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I think this work shows the true genius of Hans Zimmer simply because it is so different from his other work. I'm not a big fan of "Irish Jigs" but I have to appreciate this in the context of the film that it was written for and he has done a superb job - as always! The 1st trak "Repo Man" is surprisingly fastpaced and a great song. The other tracks are a mixture of slow and fast songs. This album shows Zimmers' broad range and deserves a high rating.
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4 of 5 found this review helpful |
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Konami - Metal Gear Solid
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| A Good album for MGS fans |
| By: |
MoriUK
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| Date: |
23 Jan 2007 |
| Rating: |
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Besides being a great game in its own right, the soundtrack to Metal Gear Solid took it to new heights. The majority of the pieces are fast rhythm pieces that are short and sweet.
The pinnacle track of this album is definitely "The Best Is Yet To Come". It's a Gallic piece of music with an almost divine female voice singing to it. For those who enjoy soothing classical music will enjoy this track, even if you have not played the game, or even like computer games.
The Metal Gear Solid music was one of the best parts to this game. It was so good, I recently bought the re-worked Gamecube version of MGS merely to listen to it once again. Unfortunately those crazy folks at Konami changed the music to a trance/dance soundtrack, ruining the whole ambience of the game.
All in all, a good album for folks who are fans of the Metal Gear Solid series. As with most game soundtracks, it is more suited to those who have played the game and have associated memories with the music.
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3 of 4 found this review helpful |
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Neil Diamond Lee Holdridge - Jonathan Livingston Seagull
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| Jonathan Livingston Seagull |
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I remember the popularity of Richard Bach's brief tale sweeping the nation - or at least all the adults in my parents' circle. I read the novelette myself (at age 12) and with the adults in my reading circle was wary about the film version coming out as live action (long before CGI was even imagined), though a cartoon treatment seemed more inappropriate. The film was a strange bird - a sort of recut National Geographic on seagulls with a voice track that was less memorable than Neil Diamond's soundtrack.
The musical score, based primarily on the lyric pop tunes, is surprisingly filmic in its depiction of the shore bird's spiritual passage. The enigmatic songs - crooned by Mr. Diamond at his most dramatic - make sense in the context of the story, but may puzzle listeners not familiar with Jonathan's journey:
"Be. Like a page that aches for a word that speaks on a theme that is timeless."
The instrumental tracks are pleasant and beautifully orchestrated; fortunately, the trend of the times to score everything with a synthesizer did not relegate the project to disappear along with the 8-track tapes it was recorded on. You may recognize the instrumental version of Skybird since it was a long-time favorite of television broadcasts of professional golf (and a car commercial, if I remember correctly).
The cinematic tracks that I enjoy most include The Prologue, Flight of the Seagull, The Odyssey (3 instrumentals of the songs Be, Lonely Looking Sky, and Dear Father), and Skybird (the shorter track is the instrumental, I think). I remember liking the baroque-styled Anthem - with harpsicord and boys choir - but always felt the melodramatic spoken invocation at the beginning and end - "Transcend. Purify. Glorius." - detracted more from the track than it enhanced.
All in all, it has a nice blend of 70s pop with enough classic influence that most of it doesn't sound dated. In fact, Diamond's foray into the classical genre well preceded Paul McCartney's, but to my knowledge was not a journey he took again.
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9 of 9 found this review helpful |
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Kronos Quartet Clint Mansell - Requiem For A Dream
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| Clint Mansell writes what he feels...with good results. |
| By: |
shelob
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| Date: |
29 Nov 2006 |
| Rating: |
 |
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Because of somewhat low-key and uncoventional efforts like Requiem for A Dream and Pi, Clint Mansell has widely been regarded as way too weird and liberal with his choices to ever successfully take part in scoring a mainstream film. But with recent successes like Sahara and Suspect Zero, the big wigs have taken note of Mansell's talent and he is a part of quite a few big upcoming big projects.
But Mansell's ego will never get so big that he should forget his good friend Darren Aronofsky. His first two scores were on Aronofsky films and so is his latest - The Fountain. But I'm here to discuss Requiem for A Dream and its way of making the listener go through the emotions that the characters in the film exhibited. With track titles like "Fear", "Tense" and "Dreams" you can already tell that the music is not so much about giving the film's feel as a whole, as the score has frequently been labeled, but it's a score that highlights the varying feelings, and situation that the characters go through.
Mansell smartly divides the score into three parts, each about equal in length, that represent the seasons the film moves through - summer, fall, and winter. The divisors are strange and almost freaky congas that Mansell I'm sure had a fun time writing. The congas themselves feel so out of place and creepy though that they sopmehow add to the overall feel of oncoming doom through their careless glee that it can be argued that the soundtrack wouldn't be the same without them.
For unexpecting listeners, Mansell chooses to introduce the score with one of the best tracks on the whole CD - Summer Overture. It's forceful beat in the beginning which culminates nicely to an emotional and melodic end makes for a track that is almost an easy listen, or at least as easy as Mansell permits it to be. But after this gracious ease into the score, Mansell shows his real intent with the tracks called "Party". The "Party" tracks which are basically electronically created using bass instruments don't feel like they belong here or would belong in any score ever. But this is Mansell writing what he is feeling. Much like the viewer watching the film, Mansell also goes through the emotions and notices the arcs these characters have.
The best example of that arc state of mind are is the "Ghosts" theme that goes through all three seasons and begins almost unoticeably in "Ghosts of Things to Come" but becomes the strongest and most emotional of all the themes by the time Winter comes around and "Ghosts of a Future Lost"'s almost symphonic grand finale breaks our hearts. Of course not all the themes are that successful in building up. The "Tense" theme only succeeds in surprising us with it's frequent change of pace and instruments, while the overtures and "Lux Aeterna" sound pretty much the same, but never lose their power.
My favorite track on the whole album though, is "Cleaning Apartment". As the first track in the fall section of the score, it acts as an overture-type track and I can understand the emotion Mansell felt when he saw this scene - an emotion similar to desparity and sorrow that is very clearly displayed here. Of course the same can be said for other emotional tracks like the almost epic "Marion Barfs" which is simply a pleasure to listen to and of course "Meltdown" which is one of the most invigorating and powerful tracks on the CD.
I think Clint Mansell considered doing this score with a full orchestra at some point, but realized the total overkill it would bring with it. By taking a minimalist approach, Mansell conjures up what he needs to much easier because the music feels much more intimate to the listener. We can picture Mansell and the Kronos Quartet performing this score with all the emotion and abandon that it requires. It isn't an easy listen (it's simply too hard-hitting and honest), but I'm also pretty sure it isn't very easy to perform either.
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12 of 12 found this review helpful |
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David Newman - Operation Dumbo Drop
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| Thumbs up for David Newman in Operation Dumbo Drop |
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I have nothing but praise for the soundtrack of Operation Dumbo Drop. David Newman has outdone himself here. Movie is great and so is it's music. A kids movie I know... but still awesome.
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3 of 3 found this review helpful |
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