Newest Major Reviews:.This Month's Most Popular Reviews: Best-Selling Albums:
. 1. Fifty Shades Darker
2. Rogue One: A Star Wars Story
3. Moana
4. Fantastic Beasts/Find Them
5. Arrival
. . 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 February, 2010:





2/27/10The Hurt Locker: (Marco Beltrami/Buck Sanders) - All New Review
Buy it... only if you want to shatter the sanity in your head with an incredibly challenging, dissonant musical extension of the sound effects used to convey the alienating suspense of the impossible circumstances in the film.
Avoid it... if you purchase your soundtracks with the intent of enjoying them, for the depressing pseudo-music for The Hurt Locker is so frightfully obnoxious that even suicidal people may find it too disturbing to put them into the right mood for killing themselves.
Rating:*   Read the entire review


2/25/10The Imaginarium of Doctor Parnassus: (Mychael Danna/Jeff Danna) - All New Review
Buy it... if you have long appreciated the style of Terry Gilliams' imagination on screen and desire an equally creative interpretation of those sensibilities in a genre-defying, instrumentally ornate score of restrained melodrama.
Avoid it... if you expect the composing team of brothers Mychael and Jeff Danna to overwhelm you with thematic or stylistic consistency in this work, the absence of which being necessary for the film but producing a somewhat nebulous atmosphere on album.
Rating:****   Read the entire review


2/22/10Up: (Michael Giacchino) - All New Review
Buy it... if your heart was broken by the tragic whimsy of Michael Giacchino's theme for the primary couple in the context of Up, its combination of vintage jazz and waltz rhythms both affably light-hearted and remarkably intimate at the forefront of the film's mix.
Avoid it... if you expect the compressed, download-only album presentation of this score to do any justice to the dynamic range of the original recording when attempting to appreciate it on anything other than headphones.
Rating:****   Read the entire review


2/21/10 Review Update and "Modern Classics" Rankings
The survey of modern classics, as defined by Filmtracks visitors' cumulative internal search engine totals, has now concluded. Next are a dozen reviews of noteworthy new scores from 2009, a few of which will be nominated in this year's Filmtracks awards in March. After that, there is no set schedule for coverage. Expanded surveys of the works of Hans Zimmer, Danny Elfman, Patrick Doyle, and Christopher Young are still in the works, though several existing reviews require the addition of recent album releases. Also expect to see coverage of 2010 scores in a more timely manner.

As promised due to propular demand last year are the rankings of how the "modern classics" existed in Filmtracks' logs. To see how they were selected for coverage, as well as the list of titles rejected from this round of reviews, read more...


2/18/10The Mission: (Ennio Morricone) - All New Review
Buy it... if your collection is absent of a single Ennio Morricone score, for there would be no better a place to start than the timeless melodic brilliance of the three heartbreaking themes at the center of The Mission.
Avoid it... if nothing less than a challenge-free listening experience from beginning to end will suffice, in which case the substantial amount of disturbing, dissonant material on the second half of this score's album may be a deterrent.
Rating:*****   Read the entire review


2/16/10The Core: (Christopher Young) - All New Review
Buy it... if you have long ago lost patience with the array of insipid, mundane trash usually recorded for blockbuster disaster films, in which case Christopher Young's score for The Core will impress you with surprising intelligence in its sustained volume.
Avoid it... if you can't handle being challenged by a composer who tosses aside the notion of easy, harmonic statements of a bold theme in every action cue and instead offers the kind of robust "wall of sound" that will overwhelm you with its transcendent structures.
Rating:****   Read the entire review


2/14/10The Crow: (Graeme Revell) - All New Review
Buy it... if you desire a complete representation of the music heard prominently in the film, because while the song compilation figures heavily in that mix, Graeme Revell's score is crucial to maintaining the film's supernatural atmosphere.
Avoid it... if the bleak, industrial tones that dominate Revell's score are too grating to justify three or four cues of subdued but compelling romance material from a restrained orchestra and intriguing collection of exotic instruments and voices.
Rating:****   Read the entire review


2/11/10Out of Africa: (John Barry) - All New Review
Buy it... if broad John Barry romanticism of consistently dramatic tonality melts your heart, in which case Out of Africa is among three or four scores of absolute certainty for your collection.
Avoid it... if you expect this score to sound anywhere near as decent in its recording quality as some of Barry's equivalent works, or if you desire a plentitude of thunderously melodramatic performances in the ranks of Dances With Wolves.
Rating:****   Read the entire review


2/9/10 Two New Features Debut at Filmtracks
The two most frequently requested additions to Filmtracks by its readers are now available at the site. First is the expansion of options in the formatting of the audio clips in the reviews, allowing more people to listen to the samples than ever before. Second is the debut of an RSS feed for subscribers who wish to be notified when new content is published at the site.

Read more about these features and other, future projects...


2/7/10Behind Enemy Lines: (Don Davis) - All New Review
Buy it... only if you specifically seek five to ten minutes of harmonious grandeur or synthetically rocking action sequences that you appreciated in the film.
Avoid it... if you prefer not to be reminded of half a dozen other composers' music when trying to assemble this completely unfocused score into some semblance of a unified work.
Rating:**   Read the entire review


2/5/10Gettysburg: (Randy Edelman) - All New Review
Buy it... if you, like most viewers of this film, became enamored with Randy Edelman's blatantly heroic music, a simplistic pleasure considered by the mainstream to be a wholesome statement of nobility.
Avoid it... if you have ever been remotely bothered by Edelman's amateurish thematic structures, non-existent textural creativity, or cheap blend of symphony and electronics, all of which do an incredible disservice to the historical complexity and gruesome conditions of the American Civil War's most famous battle.
Rating:***   Read the entire review


2/3/10Solaris: (Cliff Martinez) - All New Review
Buy it... if an extremely conservative and alienating combination of tone, instrumentation, and rhythm typical to the scores of Clint Mansell, Jon Brion, and Philip Glass is your ticket to deep, quiet, and meaningful contemplation.
Avoid it... if you have feelings of guilt, worthlessness, helplessness, pessimism, emptiness, anxiety, or hopelessness, in addition to suicidal thoughts, appetite loss, fatigue, persistent aches, excessive sleeping, or loss of interest in activities or hobbies once pleasurable, including sex.
Rating:**   Read the entire review


2/1/10Back to the Future Part III: (Alan Silvestri) - All New Review
Buy it... if you've always loved the themes from the original Back to the Future score but were discouraged by the simple regurgitation of them in the first sequel; they are explored more intelligently in the final entry.
Avoid it... if you seek the tight cohesion, overwhelming sense of wonder, and full thematic spectrum of the first score, for Alan Silvestri does lose some of its magic in his attempt to explore new thematic territory.
Rating:****   Read the entire review







Page created 2/20/10, updated 2/21/10. Version 2.1 (Filmtracks Publications). Copyright © 2010, Christian Clemmensen. All rights reserved.