Newest Major Reviews:.This Month's Most Popular Reviews: Best-Selling Albums:
. 1. Beauty and the Beast
2. The Boss Baby
3. Logan
4. The Lego Batman Movie
5. Fifty Shades Darker
. . 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 November, 2009:





11/29/09We Were Soldiers: (Nick Glennie-Smith) - All New Review
Buy it... if you value harmonious simplicity in circumstances that call for melodramatic and compelling heroism, for this music is lovely and effective despite its obvious sources of inspiration.
Avoid it... if the sum of all the perfect ingredients for a score doesn't always culminate in a satisfying recipe, especially for a picture that transcended formula production values in its other elements.
Rating:****   Read the entire review


11/27/09Judge Dredd: (Alan Silvestri) - All New Review
Buy it... on the retail album if you want some of the least expensive 40 minutes of glorious orchestral bombast of the 1990's, a score that is as robust in stature as anything Alan Silvestri has ever produced.
Avoid it... if you have little tolerance for super-heroic themes of simplistic major-key expression, especially if they're predictably blasted out every time Sylvester Stallone delivers one of his painfully awful lines of dialogue as punctuation to a scene.
Rating:****   Read the entire review


11/25/09Saw: (Charlie Clouser) - All New Review
Buy it... only if you appreciated the ridiculously brutal tone of the film and have a taste for extremely difficult, heavily metallic industrial scores.
Avoid it... if you understand the meaning of the word "empathy."
Rating:*   Read the entire review


11/23/09The Mask: (Randy Edelman) - All New Review
Buy it... if you are familiar with Randy Edelman's distinctive action style and enjoy his simple but functional combination of synthetic and organic components in undemanding structures.
Avoid it... if you feel the need to be challenged by your film music, for Edelman breaks absolutely no new ground with this effort.
Rating:***   Read the entire review


11/20/09Chariots of Fire: (Vangelis) - All New Review
Buy it... only if you specifically appreciated the short, but incredibly obvious contributions by Vangelis in the disparate context of this overrated film.
Avoid it... if you expect anything more substantive than the catchy title theme, for Vangelis' score as a whole is ridiculously undeveloped for the plot and doesn't even make for an engaging or coherent new age listening experience on album.
Rating:**   Read the entire review


11/17/09Austin Powers: International Man of Mystery/The Spy Who Shagged Me: (George S. Clinton) - All New Review
Buy it... if you groove to enthusiastic and competent parody scores, in which case this product gives you a solid survey of George S. Clinton's first two outings in the Austin Powers franchise.
Avoid it... if the 1960's and 70's music of John Barry and Burt Bacharach drove you nuts in its original incarnations, because their styles and mannerisms are bloated in obvious fashion for comedic effect in both of these scores.
Rating:***   Read the entire review


11/14/09Broken Arrow: (Hans Zimmer/Don Harper) - All New Review
Buy it... if you wonder what Hans Zimmer would write if given a Spaghetti Western, because Broken Arrow is his best merging of his passion for Ennio Morricone's music and his early Media Ventures blockbuster sensibilities.
Avoid it... if you love being pounded into submission by the overbearing staccato movements and bass domination of Zimmer's later action scores, a sound that eventually had very little do with the kind of instrumental nuances heard in this surprisingly well-balanced score.
Rating:****   Read the entire review


11/12/09Two Weeks Notice: (John Powell) - All New Review
Buy it... if no quantity of conservatively pretty romantic comedy underscore for small ensembles is enough to satisfy your desire for intimate piano, guitar, bass, organ, and percussion performances of easy harmony.
Avoid it... if you demand at least a minimal lasting impression to be left upon you by your film scores, even ones as light and inconsequential as this.
Rating:***   Read the entire review


11/8/09The Terminator: (Brad Fiedel) - All New Review
Buy it... on the 1994/1995 Edel album if you seek a comprehensive survey of Brad Fiedel's raw, synthetic score or, conversely, on the original 1991 score and song combo if you seek all five major songs heard prominently in the film and cleverly reflecting its narrative.
Avoid it... on either album if you are only casually interested in the effective, but now badly dated music for this film, because both CD albums have skyrocketed in value as they have gone out of print.
Rating:***   Read the entire review


11/6/09Queen of the Damned: (Richard Gibbs/Jonathan Davis) - All New Review
Buy it... only if you are an enthusiast of the concept and are familiar with the distinct differences between the original songs heard on screen and the gloomy, partially orchestral underscore for the film.
Avoid it... if you expect anything remarkable to emerge from this score, for its is largely an unmemorable collection of orchestral dissonance and electronic textures.
Rating:**   Read the entire review


11/4/09Love Actually: (Craig Armstrong) - All New Review
Buy it... on the European compilation album if you seek a strong combination of the song and score highlights that you heard in the film.
Avoid it... on the American song compilation album if you appreciated Craig Armstrong's memorable score in the film, in which case the composer's short but sweet promotional, score-only album should be your target.
Rating:****   Read the entire review


11/1/09The Godfather Part III: (Carmine Coppola/Nino Rota) - All New Review
Buy it... if you are primarily in search of the vocalized portions of this soundtrack, including the Harry Connick, Jr. song or the extensive excerpts from the opera "Cavalleria Rusticana" that dominate half of its only album.
Avoid it... if you expect any part of Carmine Coppola's original score to compete with the far more effective and compelling thematic continuity that Nino Rota provided for the first two films.
Rating:***   Read the entire review







Page created 11/25/09, updated 11/27/09. Version 2.1 (Filmtracks Publications). Copyright © 2009, 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.