Being comprised of strings, woodwinds, and piano on top of the featured acoustic guitar, the score does in fact take on many of the simplistic, heart-warming characteristics of a Portman effort, especially in the clarinets of "The Beach." But Zimmer's flair for rhythmic flow is what distinguishes Spanglish as music distinctly rooted in his own spirit and energy. Created occasionally by percussion and the string section, Zimmer's rhythms are often maintained with great style by Pereira's guitar performances or other solo work by violin or cello. The composer manages to avoid the stereotypes that you often hear composers fall back into when writing a score such as this; all too often you end up with a score dripping with Mediterranean flavor when really none is called for. In a couple of places, that tone tugs at the soundscape, especially with the final progressions of the main theme. In his emphasized balance between Mexican and American styles, though, Zimmer takes a cue such as "Welcome to the Claskys" and creates an instrumental duel between the upscale strings of the orchestra (and one wild violin in particular that probably reflects Tea Leoni's manic performance) and the guitar representing the two primary Mexican characters. There is considerable give and take between the guitar and strings in later cues, such as at the start of "Cooking," and these moments of frantic rhythms, ambitious guitar, and frenetic strings are the highlights of the score. At all times, Zimmer maintains a positive thematic structure, making Spanglish a delightful listening experience from beginning to end. The final cue, "Bus Stop," features a dramatic climax to Zimmer's themes, with the full ensemble providing a beautiful tear-jerking performance of Flor's (the maid) theme before exiting. Overall, it's difficult to imagine that Spanglish will appeal to all of those who crank up the volume on Zimmer's militaristic scores and consider the new age action romp King Arthur to be the best achievement by the composer in 2004. Alternately, if you've always appreciated Zimmer's perky, lightweight music for projects like As Good As It Gets and Something's Gotta Give, then Spanglish will most definitely be a distinct and addictive score. Given the composer's pressures to achieve this score under extreme deadline stress (as Brooks retells with great humor when reflecting back on the recording process), you can't help but give Zimmer and his team kudos all around. A Gershwin song performed by characters in the film is the only blemish at the end of an otherwise consistent, enchanting little album.  ****   @Amazon.com: CD or Download