Newest Major Reviews:.This Month's Most Popular Reviews: Best-Selling Albums:
. 1. Wonder Woman
2. POTC: Dead Men Tell No Tales
3. Alien: Covenant
4. Guardians of the Galaxy 2
5. The Fate of the Furious
. . 1. Star Wars: Force Awakens
2. E.T. The Extra-Terrestrial
3. Titanic
4. Avatar
5. Nineteen Eighty-Four
6. Gladiator
7. Star Wars: A New Hope
8. Animal Farm
9. LOTR: Fellowship of the Ring
10. Harry Potter: Sorcerer's Stone
. . 1. Rogue One: A Star Wars Story
2. Fantastic Beasts/Find Them
3. Willow
4. The Ghost and the Darkness
5. An American Tail
Filmtracks On Cue


On Cue for May, 2001:





5/29/01 - The Legend of Bagger Vance: (Rachel Portman) "Back in July, 2000, I sat in a jam-packed theater eagerly awaiting the start of The Patriot when the trailer of Robert Redford's golfing drama The Legend of Bagger Vance graced the screen. I was drawn into the images by a sweeping melody and became instantly excited of the musical potential when Rachel Portman's name appeared in the credits. The result of my long anticipation is an Americana infused score that is marvelous in every respect. This music makes one proud to play a sport. The title theme moves joyously along with its brisk strings, cheerful trumpet solo, and melodious interlude. Portman radiantly punctuates Bagger Vance's suave and benevolent qualities as well as the movie's underlying theme of redemption. Portman's effort for this film will long be remembered in the pantheon of sports scores...." Read the entire donated review.

5/28/01 - Two days are left until the end of the April-May Cue Clue Contest. Filmtracks and Varèse Sarabande are proud to be offering ten prizes for this contest. When you enter the contest, click the box in front of which of the following albums you'd like as a prize if you win: Along Came a Spider (the new thriller from Jerry Goldsmith), In Session (the 2-CD starter-kit of re-recorded classic themes) Monkeybone, (Anne Dudley's new and zany score), Georges Delerue (2-CD compilation of Delerue re-recordings from 1989), or Cleopatra (the recent 2-CD set of Alex North's original score). Listen to the Cue Clue Clips on the Filmtracks Cool Stuff page. Good luck!

5/27/01 - Now and Then: (Cliff Eidelman) --All new review-- "After several years of excellent production in the early 1990's, Cliff Eidelman was beginning to experience some road bumps in 1995. With his other score of 1995, Picture Bride, rejected, and a year of 1996 during which he would not score a feature film, Eidelman's Now and Then represented the last of a yearly string of solid character drama scores. The film, revolving around the young and adult lives of four women/girls and featuring a strong cast, gained moderate success, and a song album for the film took much of the attention away from Eidelman's score... a score which doesn't jump out too much at the listener in the film. It was a very typical project for Eidelman in the mid to late 1990's, and a long cry away from his most popular and bombastic days of Star Trek VI: The Undiscovered Country and Christopher Columbus: The Discovery...." *** Read the entire review.

5/25/01 - Initial critical reactions to the Hans Zimmer score for Pearl Harbor have been overwhelmingly negative, as have critics' reviews of the film itself. The NBC Today Show review of the film this morning mentioned Zimmer's score as banal and intrusive. A CNN Showbiz Today Report, also airing today, commented that the music for the film was phony and sappy. Reviews featured at Dark Horizons, Aint-it-cool-news.com, and Rotten-Tomatoes have also indicated that Zimmer's score is a weak, boring, and underscored effort. Why do you think? Now that the film is finally out in the theatres, is the score really inappropriate for the film? Or is the film so bad that Zimmer's score is irrelevant? Join the debate at The Filmtracks ScoreBoard!

5/17/01 - One True Thing: (Cliff Eidelman) --All new review-- "The score for One True Thing represented many turns for Cliff Eidelman, who had burst onto the scoring scene in the 1990's as one of the potentially great composers of the next few decades. Never had the young composer produced such a minimalistic and intimate score for such a major film. It would also be the last motion picture score for Eidelman in the decade, and with the exception of the television film Witness Protection a year later, One True Thing would usher in a long drought of major score production for Eidelman. He would continue to work on re-recordings with large performing groups, conducting suites and themes that would be released on CD. The film One True Thing passed with a moderate reception by audiences, though its brutally honest depiction of family life turned away much of the residual viewership, and both the film and score have faded into obscurity...." *** Read the entire review.

5/16/01 - Crocodile Dundee in Los Angeles: (Basil Poledouris) "Ready to accompany this completely unnecessary sequel film is an equally unnecessary album. Basil Poledouris' assignments of the last three years have all been of a smaller scale, avoiding the typically blockbuster assignments that the veteran composer is best known for. The new century has yielded three Poledouris albums thus far, and with the pleasant Kimberly and uninteresting Love and Treason scores failing to turn many heads, Poledouris follows with a score that is more likely to irritate his fans rather than reverse his current trend. It is difficult not to be acquainted with the Crocodile Dundee franchise, especially with Paul Hogan in so many commercials for substandard vehicles (even in his advancing years), so it should come as no surprise that the soundtrack is not to be taken with much seriousness. The first two films in the series were scored by Peter Best, though neither effort proved to be memorable. Poledouris' involvement with Crocodile Dundee in Los Angeles surely involved more than a small paycheck, but likely a "sounds like fun" motivation as well. After all, how many composers get the opportunity to score an entry into such an intelligently illustrious film franchise?..." ** Read the entire review.

5/14/01 - Pavilion of Women: (Conrad Pope) "Known by almost every composer as one of the top notch orchestrators of film music, Conrad Pope has now finally ventured into his first original score with enough attantion warranted to produce an album for the diverse artist. Pope's orchestration credits can be found on the scores of John Williams, James Horner, and Alan Silvestri as recently as this year, and his knack for precise balance of instrumentation is perhaps what caught the eye of the producers of Pavilion of Women. The film is a World War II account of the budding romance between a Chinese woman and Western man set against the horrors of the Japanese invasion and occupation of mainland China. For the project, therefore, a composer with talents accentuating the mixture of Western and Eastern instrumentation was required, and Pope received the call. While dominantly Eastern scores have become more and more popular over the past five to ten years, culminating in the Academy Award win for Crouching Tiger, Hidden Dragon, that particular sound is still not the ideal choice for many filmmakers (or, for that matter, the ears of Western audiences)...." **** Read the entire review.

5/9/01 - Ruby Cairo: (John Barry) "A forgotten film, Ruby Cairo is a suspenseful action mystery with star power that just happened to suffer from some bad timing in its release date. The year 1993 was stocked with blockbuster scores and films, and it was easy for both this film and score to simply wash away into obscurity. For John Barry, it was a period in his career when he was accumulating Academy Award nominations and wins for scores of immense and melodramatic romance, creating often simplistic, but very appealing scores that flew off the record shelves. It was also the time of his career when the Moviola albums were becoming hot in correlation with Barry's tendency to score the biggest new epic films. Ruby Cairo came in between these epics and the his year of heavy drama (1995), and while it is very much reminiscent of this period of his work, it has more enthic flavour than usual. The film's worldly locale, including the opportunity to score for scenes in Latin America, allowed Barry to deviate from the typical, neatly packaged score for the time. One of the strengths of the film is its cinematography, for which Barry's music is especially well suited given its naturally expansive traits...." **** Read the entire review.

5/3/01 - Love and Treason: (Basil Poledouris) "This television suspense thriller of 2001, based loosely on the cover-up and exposure of military secrets, was produced by the same team who brought Flight of the Intruder and The Hunt for Red October to the big screen. Because of the long standing collaboration with Basil Poledouris, the producers asked him to score the pilot of the show. Discovering how miniscule the budget for the score was, however, caused Poledouris to laugh for a moment. With less that 5% of the amount that had been allocated to The Hunt for Red October's score available for this one, Poledouris, who enjoyed the show and wanted to be a part of it, took a new approach to scoring it. For some time, Poledouris has been collaborating with his friends and associates to create the "Blowtorch Flats" studio in Venice where the composer (along with others) can use state of the art digital recording, mixing, and mastering technologies to synthesize cheaper scores. Sound familiar? Well, it's not entirely that different from the direction that the entire film scoring industry is headed...." ** Read the entire review.






Page created 6/16/01, updated 7/3/01. Version 2.1 (Filmtracks Publishing). Copyright © 2000-2001, Christian Clemmensen. All rights reserved. "Real Audio" logo and .ra are Copyright © 1996, Real Audio (www.realaudio.com). "Academy Awards" and the Oscar statue are ® AMPAS, 1996.