Newest Major Reviews:.This Month's Most Popular Reviews: Best-Selling Albums:
. 1. The Lego Batman Movie
2. Fifty Shades Darker
3. Hidden Figures
4. La La Land
5. Rogue One: A Star Wars Story
. . 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 October, 2001:





10/28/01 - Joy Ride: (Marco Beltrami) "Just in time for Halloween, a horror flick is released about a teenage summer vacation excursion gone awry. Is it just me, or is there something wrong with the timing there? Either the production of the film was delayed (by the will of Allah and Osama bin Laden?) or someone working one night in the studio realized --all of a sudden-- that Joy Ride was going to be a terrible film and figured that nobody would notice or care about the apparent error. Likely, it was the latter. I used to wonder why films like this get made. As I child, I thought that bad films like this were produced only so that bad music could accompany it. In the case of Joy Ride, that may very well have been the case. The cliche tale involves a college freshman, his dorky brother, and his dorky girlfriend, who decide to harass a trucker known only by his CB handle. As fate would have it, of course, the trucker gets mad, and decides to break a couple of minor traffic safety laws while gaining his crazed revenge. What great joy!..." * Read the entire review.

10/21/01 - Mythodea: Music for the NASA Odyssey Mission: (Vangelis) "It's not everyday that a NASA space mission gets its own new age opera, but here we are. NASA launched the spacecraft Odyssey last April so that it could survey the surface of Mars. With the orbital craft now finishing its approach to Mars, it's likely to begin making news (that is, unless it blows up or experiences other typical malfunctions which plague the NASA Mars program). Mapping the chemical surface of the red planet, the Odyssey will try to determine where there has been (and could still be) water on the hostile world. With an enormous amount of American resources tied into the program, the Odyssey will pave the way for more planetary roving devices to be landed on Mars by the Americans in 2004. The publicity machine for NASA has been putting an adventurous spin on the mission and pushing the "we won't know what we'll find" idea to help sell it to the people of the world. One part of the publicity campaign is the space opera contracted for and arranged by new age artist Vangelis specifically for this mission...." *** Read the entire review.

10/16/01 - The October, 2001, Theme of the Month is a birthday bash! This site has staggered through the last six years in a sort of digital drunken stupor, and with this five-year (or six, depending on how much stock you put in domain names) anniversary, I've taken a step aside to provide those few curious among you with a glimpse of Filmtracks in years past. I've collected a bunch of dusty old Filmtracks memories, including 20+ copies of ancient Filmtracks home pages, for this month's "Theme" and thrown in some silly commentary about it all. This includes, by popular request (and the shame of the webmaster), the embarassing layouts during the trailblazing 1995-1996 year. So come on in and check out the real story behind the one quote on Filmtracks' home page from the very beginning... Be warned, however; this is a seriously graphic-intensive retrospective.

10/14/01 - Bubble Boy: (John Ottman) "Brought back into the mainstream vocabulary of the world by a classic episode of the TV show Seinfeld, the concept of the "bubble boy" has been a source of much amusement for the politically incorrect populus. The film Bubble Boy, comically portraying the teenage (coming of age) years of such a bubble person, was an immediate critical disaster, making one wonder once again why films like this are even attempted. The most publicity for the project came, ironically, when the film was boycotted and blacklisted by the "bubble people" of America (I'm sure there's a politically correct euphemism for their unfortunate kind, but it escapes me at the moment). By speaking out against the film's obviously poor portrayal of teenage life for a bubble boy, they caused the film to actually gain more attention than it probably should have... thus, defeating the point of the boycott. Anyways, the score for the project was a task for John Ottman, who had to share the film's soundtrack with numerous songs. Some of Ottman's rough demo/synth renderings for certain scenes would be replaced by songs as well...." *** Read the entire review.

10/13/01 - Octopussy: (John Barry) --All new review-- "In the late 1970's and early-1980's, John Barry's affiliation with the James Bond series hit its second roadblock. Due to his short move to the Los Angeles in 1975 and his subsequent move back to London in the 1983, he missed the opportunity to score For Your Eyes Only, for which Bill Conti wrote a disappointing score with only a few fugelhorn solos to impress (some even consider Conti's score to be a disaster in the series). Barry, out of loyalty to the original Bond franchise, turned down the hack job that was known as Never Say Never Again in 1983, but jumped at the chance to score the legitimate Octopussy in the same year, uniting his music once again with Roger Moore. The Octopussy score had always been elusive on CD for a number of years, until Rykodisc began releasing the 80's Bond scores in the late 1990's. Its original release was in 1985 on the A&M label and was one of the very first scores released on CD. In 1995, it was released on the "Music Collectors Anonymous" label with Conti's for Your Eyes Only...." **** Read the entire review.

10/6/01 - Original Sin: (Terence Blanchard) "When a film fails as miserably as Original Sin, both critically and popularly, it makes the score for that film all the more difficult to evaluate. By the time that reknown jazz artist and composer Terence Blanchard was brought in to score the film, the project was already a bust. Unless your existence revolves around the unfathomable need to see two hours of Angelina Jolie's naked bosom-heaving and open-mouth sucking, there is absolutely no redeeming aspect to Original Sin. The film received one of the worst combined critical responses in the last decade, with reviewers going so far as to cheer when the deliriously awful film finally ended. Handling such a situation as a composer, especially a failure of a film which involves countless slow-motion close-up scenes of badly photographed fornication, often leads a lack of inspiration for that composer. For Blanchard, he had to look beyond the ridiculously illogical, though surprisingly predictable, plot and concentrate on two things: the period of the story, which was circa 1890, and the location, which was the exotic and lush Cuba...." ** Read the entire review.

10/1/01 - Jay and Silent Bob Strike Back: (James L. Venable) "This, the supposedly final film of Kevin Smith's acclaimed New Jersey chronicles (a series of cult driven urban films which include Clerks, Mall Rats, and Chasing Amy), is a spin-off of the series, with the popular characters of Jay and Silent Bob deciding to get even with the world. Upon learning that a "Bluntman and Chronic" film is going to be made about them, but without providing them with any royalties, they set out on a journey across the country to Hollywood, where they are determined to destroy the film. The clumsy and often drugged pair live out all the fantasies along their way, including appearances by God, Star Wars idols, and countless beautiful women who all look like casting rejects from Charlie's Angels. Then, of course, there's the orangutan, but we won't go into that. With previous collaborations with Kevin Smith, the relatively unknown composer James L. Venable (who has spent most of his time writing for television) is called upon to write a farce...." ** Read the entire review.






Page created 10/21/00, updated 12/22/00. Version 2.1 (Filmtracks Publishing). Copyright © 2000, 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.