Newest Major Reviews:.This Month's Most Popular Reviews: Best-Selling Albums:
. 1. Fifty Shades Darker
2. La La Land
3. Rogue One: A Star Wars Story
4. Moana
5. Fantastic Beasts/Find Them
. . 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, 2004:





10/31/04 - Tuesday is presidential election day in the United States, challenging Americans with one of the toughest decisions of modern times. In 1996 and 2000, Filmtracks endorsed Bill Clinton and Al Gore, and those preferences were based on traditional social and economic beliefs held by the owners of this site. In 2004, though, the situation is different because Filmtracks has for the first time felt the indirect reactions of presidential politics in its daily dealings with its own readers. Over the past two years, soundtrack collectors all around the world have continued sending their usual flow of music-related remarks and inquiries to Filmtracks. But in that time, it has become frightfully common for these e-mails to be ended with comments such as "I think your site is awesome, but I don't like what your country is doing in Iraq," "no offense, but how can you stand being led by that war-mongering Bush?," and our favorite, "if George Bush was the American submarine captain in The Hunt for Red October, his cowboy diplomacy would have killed the entire lot!" Such comments may seem frivolous, but their frequency is alarming.

When American politics become so unpopular around the world that these issues invade e-mails about soundtracks from readers, then you know that the importance of this election transcends the last ones. The readers of this site come from countries all over the world, and they are typically younger, educated people. Despite what George W. Bush tells Americans in his speeches, the opinions of these folks in other nations do count. They will forgive the American electoral system for installing Bush despite his minority tally in the 2000 popular vote; after all, every country makes mistakes. But Americans run the dangerous risk of rejecting the world's readiness to give them a second chance... a chance to prove that the United States isn't just another isolationism-touting nation using its culture and capitalism as means of subversive, imperial influence. Not a single Filmtracks reader has e-mailed the site with a soundtrack comment and subsequently expressed support for Bush and America's global military efforts.

The pleas for "anyone but Bush" are loud and clear, though, and with these last two years of Filmtracks e-mails in mind, we wholeheartedly support John F. Kerry for president. Remember to vote, Americans!


10/29/04 - Fahrenheit 9/11: (Jeff Gibbs) --All New Review-- "Not much needs to be said to introduce this highly controversial film and the determined minds behind it. After the highly successful film Bowling for Columbine a few years earlier, liberal filmmaker Michael Moore sought to produce the ultimate anti-George W. Bush "documentary" as part of his personal effort to harm Bush's re-election chances against 2004 challenger John Kerry. President Bush is made to look silly and incompetent in the film, balancing between comedy and drama in its pursuit of exposing the less refined aspects of Bush's last three years. No effort has been made to mask Fahrenheit 9/11 as a straight documentary; the purpose of the film is quite clear to all in a year when half of America, along with the majority of the world's onlookers, hope for an end to Bush's controversial (and, as some would say, illegitimate) presidency. The difference between Fahrenheit 9/11 and most other propaganda films..." ** Read the entire review.

10/26/04 - Aladdin: (Alan Menken) --Expanded, Updated Review-- "Flying on its own magic carpet ride in the early 1990's, the collaboration between Disney and Alan Menken soared from The Little Mermaid and Beauty and the Beast to Aladdin in 1992 without even the slightest hiccup. Despite the failing health of Menken's lyricist, Howard Ashman, who would pass away before the final cut of the film, Aladdin maintained the outrageously profitable Disney musical craze with viewers and listeners of all ages. Following Beauty and the Beast was no small task, however, with the Aladdin predecessor rivaling live action films at both the box office and awards ceremonies (the latter of which is even more rare today than ever). Still, audiences were ready to soak up nearly anything from Disney in 1992, and Aladdin was yet another enormous box office and music chart success story. None of Menken's songs for this final entry in the "Great Disney Musical Trilogy" would achieve the same lasting greatness as those in the other two, though..." *** Read the entire review.

10/22/04 - Chill Factor: (Hans Zimmer/John Powell/Jeff Rona) --All New Review-- "Do film studios really take us for such fools that we wouldn't be able to figure out that Chill Factor is a badly twisted and poorly conceived remake of the popular 1994 film Speed? This time, instead of a bus rigged to explode if it slows below 50 mile per hour, you have a nasty biological weapon that will explode and defoliate plants, melt human flesh, etc, if it is warmed above 50 degrees Fahrenheit. Worse yet, the bomb's name is Elvis and the vehicle this time is an ice cream truck. The plot is one of those buddy adversity ones, putting Cuba Gooding Jr. and Skeet Ulrich in the position of being forced to carry the bomb to a target chosen for reasons of revenge by a government-brainwashed villain who has gotten free from the clutches of the law. One of the famously dumb quotes from the film was "I'd like to kick your ass like last year's underwear." Sound stupid? Indeed it is, and the film plummeted to the depths of obscurity within a week or two after its theatrical release...." ** Read the entire review.

10/16/04 - Toys: (Hans Zimmer/Trevor Horn) -Updated, Expanded Review-- "Reportedly the first idea for a film that director Barry Levinson had ever wanted to make, Toys was a dozen years in the making and just a few weeks in the crumbling. Hailed as a shining star right before its opening in 1992, Toys teamed Levinson once again with Robin Williams (the wildly successful pairing from Good Morning, Vietnam), Joan Cusack, and Michael Gambon as the evil 'General' (long before stepping into the role of Dumbledore after the death of Richard Harris). But despite a stunning array of colors and an equally intriguing set of ideas, Toys failed miserably in its task. It's tale of a family battle in an idealic toy factory, with a struggle for control of the manufacturing focus between the benevolent son (Williams), who wants to continue the wholesome nature of the business, and the militaristic uncle (Gambon), who has insane visions of producing violent, dangerous toys of war. There are really too many parallels and sub-plots in Toys to discuss..." ** Read the entire review.

10/9/04 - The Road to El Dorado: (Elton John/Hans Zimmer/John Powell) --All New Review-- "As part of Dreamworks' continuing attempt to steal the heart of the animated film genre away from Disney, the studio followed up their hit film The Prince of Egypt in 1999 with The Road to El Dorado the following year. Despite spirited performances by Kenneth Branagh and Kevin Kline, The Road to El Dorado would meet the same doom that Sinbad would meet a few years later. Audiences spoiled with spectacular leaps forward in animated film graphics and photography tend to shun animations unless their have either spectacular new visuals or, if that fails, fantastic songs. Indeed, The Road to El Dorado would suffer from a lack of advancement in animation technology, and perhaps knowing this ahead of time, the producers of the film decided to make the project a musical extravaganza. With composer Hans Zimmer and his Media Ventures organization established as the tested and successful score producing entity..." ** Read the entire review.

10/2/04 - Cherry 2000: (Basil Poledouris) --Expanded, Updated Review-- "In 2004, Prometheus Records attained the rights to both Cherry 2000 and Poledouris' No Man's Land (also an early CD release by Varèse Sarabande, and certainly out of print and as difficult to find as its Club title companion) from Varèse and pressed them as a non-limited album. The inclusion of No Man's Land is an unexpected, but logical bonus. Both scores came from Poledouris during a distinct and specific point in his career, and both were out of print. The music is presented here in the full length of the original 30-minute album, although the "Porsche Power" and "Drive My Car?" cues have been combined into one track. No Man's Land is a cop thriller long forgotten, and the score was Poledouris' first chance to produce an entirely synthetic pop and drama effort for the big screen. After such a hectic 1987 (including the incredibly long score for the TV series Amerika), Poledouris perhaps should have passed on No Man's Land...." **** Read the entire review.






Page created 10/18/04, updated 12/19/04. Version 2.1 (Filmtracks Publishing). Copyright © 2004, 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.