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 September, 2005:





9/29/05 - Unlawful Entry: (James Horner) --Expanded Review-- "An interesting premise occupies Unlawful Entry, one that elevates the film beyond its restraints in the cheap thriller category and thrusts it into one of social drama. A man and his wife --a typical, loving suburban couple consisting of Kurt Russell and Madeleine Stowe-- are set up in a false burglary attempt on their home and are tricked into relying upon the assistance of a cop to protect them. The cop is a psycho with a good nice-guy look about him, however, and Ray Liotta does his best to outperform his previous efforts in exactly the same kind of role. As the corrupt cop works his way into this couple's lives and eventually lands the husband in jail, we fear for the innocently vulnerable wife, who not only fails to see this train of passion steaming towards her, but even gets herself into the 'creepy dark house by herself' kind of scenarios by the end of film. Until that all-too-familiar end, the film is somewhat intelligent, but the stereotypical climax is a disappointment for fans of director Jonathan Kaplan..." * Read the entire review.

9/25/05 - Thunderheart: (James Horner) --Expanded Review-- "A fictional representation of events that occurred on a South Dakota reservation in the 1970's, director Michael Apted and writer John Rusco provide one of the most authentic depictions of reservation life in Hollywood's history. In real life, a militant group called 'American Indian Movement' defied the FBI with violent results, although in Thunderheart, the story has been twisted to include a conspiracy to steal land from the Native Americans. A murder mystery erupts from these actions, and it gives Val Kilmer the chance for one of his best performances to date. His conservative, clean-cut FBI agent attitude is challenged by his quarter Indian heritage, with the film showing his slowly-developing mystical visions of ghost dancers as he is eventually forced to choose between the law and the Indians. A fine film in all regards, the project would mark the third and final collaboration between Apted and composer James Horner. A superior piece than both Gorky Park in 1983 and Class Action in 1991..." **** Read the entire review.

9/22/05 - A Far Off Place: (James Horner) --Expanded Review-- "While produced by Steven Spielberg's affiliated Amblin Entertainment and Walt Disney Pictures, A Far Off Place is not your usual fluffy children's film. Nor was it any great success with audiences, for perhaps that very reason. Films have been made before about children persevering in adverse conditions, but A Far Off Place takes the related series of cliches to all new heights. A South African white girl, American white boy, and young African bushman are forced to trek 2000 kilometers across the Kalahari Desert in Africa after the girl's parents (whom the boy was visiting for the summer) are brutally murdered on their farm by ivory poachers. Instead of traveling to Cape Town or any number of small villages within reasonable range, the film illogically takes them on this long, unrealistic trek and has to rely upon the stereotypical badguys --in this case, the poachers tracking them in helicopters and attempting to machine gun them down-- in order to compensate for their inability to sustain the film with the vistas and character interaction alone...." *** Read the entire review.

9/18/05 - Searching for Bobby Fischer: (James Horner) --Expanded Review-- "Perhaps the most well developed and respectful film ever made about the game of chess, Searching for Bobby Fischer is still first and foremost a movie about human relationships. In this case, a young boy (and somewhat of a snot) at the center of the story is a budding chess genius and the adults in his life are forced to realize and deal with these talents. From the chess hustlers in New York's Washington Square Park with whom the boy learns the game to his own parents and eventually the testy professional chess teacher who trains him, the journey in Searching for Bobby Fischer ironically doesn't actually include Bobby Fischer himself. The most infamous chess competitor of all time, Fischer inspires the film in that he inspires all chess enthusiasts, and while the real Fischer is stuck in a monumental legal battle of citizenship that has landed him in unwilling Japanese seclusion, it's the presence of only his spirit that is required to propel the story of this film. A complex but magical product, Searching for Bobby Fischer would demand both an atmospheric and character-centered approach from composer James Horner..." *** Read the entire review.

9/14/05 - The Pelican Brief: (James Horner) --Expanded Review-- "Director Alan Pakula's films have never been inclined to demand large-scale or thematically complex music out of their composers. From Klute to Presumed Innocent, a Pakula effort is typically a high-quality suspense story about corruption in the genres of law, journalism, and politics. The thriller The Pelican Brief falls into all of these categories, with its story closely following John Grisham's best-selling novel of the same name. Julia Roberts is a law student with a sharp mind and an inquisitive nature, and her theory about a conspiracy behind the deaths of two Supreme Court justices inks her name on the perpetrators' hit list. She teams with Denzel Washington who, as a reporter, dodges the same assassination attempts on their lives in an effort to get the truth revealed. With a seemingly snug fit between Grisham and Pakula in place, the duties of the composer would fall upon James Horner, whose popularity was nearing its height..." ** Read the entire review.

9/10/05 - We're Back! A Dinosaur's Story: (James Horner) --Expanded Review-- "There were two films about dinosaurs in 1993 that were either produced or directed by Steven Spielberg. One was Jurassic Park, for which John Williams wrote one of the most popular scores of the 1990's. And then there was We're Back! A Dinosaur's Story, on which James Horner matches Williams note for note in an effort to take a dinosaur horror score and twist it into a wildly outrageous slapstick variation. If a collector of Horner's works looks back at all of the children's scores from 1988 to 1995 --animated and live-action-- then a good head-scratching could result. But of all the somewhat bizarre projects on which Horner became involved during that era, none is stranger in content or musical result than We're Back! A Dinosaur's Story. A Spielberg-produced flight of fantasy, the film basically follows four singing and dancing dinosaurs as they travel forward in time to New York and engage in activities that today would constitute a significant breech in American national security...." *** Read the entire review.

9/7/05 - Swing Kids: (James Horner) --Expanded Review-- "Few people know that during the height of Hitler's reign in Germany, there was a loyal and popular following of American jazz music. The youths that enjoyed the likes of Benny Goodman and Count Basie were, of course, engaging in what the Third Reich considered illegal behavior, and the film attempts to show their resilience in the name of music... to an extent. Where Swing Kids utterly fails as a movie is in its treatment of everything outside of the jazz itself. Almost as though the filmmakers made the 1930's jazz the main attraction of the film, they managed to neglect the gravity of the surrounding social and political events. While you become attached to a certain number of 'swing kids' in the story, the film makes only vague and distant references to the persecution and war around them. When the kids are forced to either enlist in the army or be sent to concentration camps, their reactions aren't really clear, for in their jazz-centered view on life, they seem to have no feelings whatsoever for the Jews...." ** Read the entire review.

9/3/05 - Clear and Present Danger: (James Horner) --Expanded Review-- "After beginning the original trilogy of Jack Ryan films with an overwhelming cinematic and soundtrack success in the form of The Hunt for Red October, the series of adaptations of Tom Clancy's novels to the big screen progressed with less fanfare to Patriot Games and Clear and Present Danger. While the first film had the advantage of conveying the most interesting story, the subsequent entries suffered from a lack of self-importance as the criminal attention turned more towards Ryan and his family rather than events of a global scale. Harrison Ford was almost becoming typecast as "the average Joe who has to do something extraordinary" during this time, and the sequel films --if they can really be called that--- took on a similarly formula-restricted approach. This less inspired method of filmmaking translated directly to James Horner's scores for the two sequels. While his intention was certainly not to try to match the impact of Basil Poledouris' score for The Hunt for Red October..." *** Read the entire review.






Page created 10/12/05, updated 10/13/05. Version 2.1 (Filmtracks Publishing). Copyright © 2005, 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.