The Reviews

Hans Zimmer - "Black Hawk Down" I have given Zimmer many favorable reviews here on the Art's page but I think he rather dropped the ball on this one. Atmospheric in nature, this soundtrack is produced in high tech fashion for some cuts and what sounds like a tin can for others. I rather like the tin can cuts but find myself wishing he'd stuck to one style here. This is one of several soundtracks that are very good while watching the film, but don't hold up on their own.

James Horner - "A Beautiful Mind" The composer who's Braveheart soundtrack was a groundbreaker in terms of composition for film, has created a score in a whole different style. Unfortunately not a better style. This score seems to wander and drift from any thematic vision perhaps in keeping the story's lead character. There are a couple of slow cuts with Horner's gift for melody shining through but they are a bit few and far between. I would recommend just pulling out the old Braveheart soundtrack again.

Carter Burwell - "The Man Who Wasn't There" If there is a way to combine classical pieces in a movie with original music without it sounding disjointed or peculiar, Mr. Burwell would be the first one to do it, and in fact he has. Not just with ease but with grace. This soundtrack to Joel and Ethan Coen's film is beautifully rich and somber, which if you have ever seen any Coen brothers films, you know that it's exactly why Mr. Burwell has become their pet composer. Also included on this CD are tracks by Beethoven and Mozart that are both tastefully orchestrated and performed. Very very nice indeed.

Edward Shearmur - "K-Pax" When I listened to this soundtrack, something very specific came to mind about what it is to compose. Most composers will tell you that their best work was given to them. They don't necessarily know from where but they were open to it, took it in and crafted it. Listening to K-Pax I could hear that it came in, but something was blocking it. This score is atmospheric in nature, quiet, somber and unique in tone and color. These are all qualities I like but something is missing. Within the chords and layers something cries out for a melody that just isn't there. These kinds of works are frustrating because it almost touches you, but not quite. For what came in, 2 speakers.

Mychael Danna - "Hearts in Atlantis" I love this soundtrack. It has some classic cuts like Chubby Checker's "The Twist" and "Only You" by the platters, but what is even better is the original compositions by Mr. Danna. These pieces are refreshingly minimal. Simply nice melodies that are not overdone or over produced. Very beautiful stuff. I only wish there was more of it. (Only 4 original works) But the old songs are nice to hear again and the soundtrack works as a mood reflection of the movie. Highly recommend getting this.

David Arnold - "The Musketeer" I have to say that this score has all the proper instrumentation for an action/adventure movie, but the music itself comes up short. The Main Title Theme is just about a carbon copy of John Williams "Superman" without the inspiring melody. For me, melody is crucial and everything else should support it. Here it seems that style is supreme and throughout this score inspiration is sadly lacking.

Stephen Warbeck - "Captain Corelli's Mandolin" Most of the compelling music in this new soundtrack is introduced in the first track, "Pelagia's Song". The main theme is established here and repeated throughout the score with different instrumentation. This is not a score that really goes out on a limb musically. It is a love story, and the melodies and overall sound of this music is fairly predictable. Still, cut's such as "The Mandolin" add much needed texture and atmosphere and are quite pleasant to listen to. One other interesting thing about this score is that Mr. Warbeck worked very closely with the director prior to shooting the film. In the liner notes the director praises Mr. Warbeck for his part in inspiring scenes in the film. I don't know if the listener could tell that much of this music was created and woven into the scenes, but it is an interesting approach none the less.

John Williams - "A.I." One thing that I've noticed about what happens when John Williams works with Steven Spielberg; Williams will match the mood and attitude of the film. The only inherent problem with that is when Spielberg does a movie that has trouble finding it's own heart, so does the music. This soundtrack has all the color and mood of the film, but it falls short of heart. The end result is that it is a better soundtrack in the theatre that it is just listening to it at home.

Hans Zimmer - "The Wings of a Film" This is a great idea. It is a live concert performance at the Flanders International Film Festival of some of Hans Zimmers favorite original compositions. The first thing that occurred to me when I listened to this record is that I missed something fantastic. This is an excellent recording of some of Mr. Zimmers best work. For those of you not too familiar with Hans Zimmer scores, he did such classics as Gladiator, Rain Man, Mission Impossible 2, The Lion King, Thelma and Louise and the Thin Red Line. I hope this kind of CD is a sign of things to come. Go out and get this one right away!

Alan Silvestri - "The Mummy Returns" This is some very exciting stuff here. Veteran Alan Silvestri has created a tense colorful score that is a must for fans of action soundtracks. This is not only a well written score but the recording is edgy and exciting as well and expertly performed by the Sinfonia of London Orchestra and Chorus under the direction and production of the composer. By the way, this is not a recording to listen to quietly......crank it up!

Hans Zimmer and Lisa Gerrard - more music from "Gladiator" If the original Gladiator soundtrack is the main course, this CD offers numerous side dishes that are just as savory. Usually when I hear a second CD for one movie I am prepared to hear things that were better left edited out, but this is not the case here. These are all quality works and there is dialog that is interspersed that really helps bring you back to that place you were when you first saw this film. The songs that feature Lisa Gerrard's haunting voice are absolutely crucial to this CD and if you need any more incentive to get this, the inner sleeve contains pages of explanation by the composer about the actually writing of this material.

Hans Zimmer - "Hannibal" Those of you who are familiar with Zimmer's work will be caught by surprise by this new soundtrack. While Zimmer still is heavy on atmosphere this music is distinctly melodic. It is lush in it's orchestration and even somewhat classical in style. Very beautiful to listen to. Another nice feature of this CD is that you get to hear dialogue by Sir Anthony Hopkins himself (at a volume that doesn't diminish Zimmer's score) and there are some actual classical pieces by Bach and Dante as well. I would have to recommend this as quite possible Hans Zimmer's best score to date.

Michael Kamen - "X-Men" If you see this film, chances are you will not have the opportunity to listen very carefully to this soundtrack. Sound effects and constant visual stimuli keep the viewer distracted. All this aside this is a top notch soundtrack. Mr. Kamen manages to create a high tech score as one might expect for a futuristic comic book made film, but it is his use of strings that makes this music unique and adds a dimension of warmth usually missing from these kinds of soundtracks. Kamen's use of high pitched harmonics and long drawn out chords gives this music the intensity the story requires while keeping the emotional impact intact.

Paddy Moloney - "Agnes Browne" There is some fine music here interspersed with some old Tom Jones songs done in a most peculiar way. Paddy Moloney's original works are simple, traditional and quite beautiful. I would recommend this soundtrack if you have any kind of a thing for traditional Irish music.

Hans Zimmer - "Mission : Impossible 2" This newest Hans Zimmer score is very heavy on atmosphere and texture rather than melody. Generally hard edged, there is a soft Spanish influence in some of the pieces. You might play this soundtrack when driving late at night on the freeway because the suspense alone would keep you awake.

John Williams - "The Patriot" Perhaps the most celebrated and prolific soundtrack composer of this age, John Williams composed and conducted this lushly orchestrated score for The Patriot. The music itself is very "Copelanesk" with soft open strings that paint a truly American landscape. While Mr. Williams is famous for his catchy running themes in movies such as "Jaws" and "Star Wars" , the listener may miss the subtle theme that runs through The Patriot. This is not one of his scores that you will walk out of the theatre humming. The real strength of this music is in the orchestration. An expert at expression through instrumentation, Mr. Williams is at the top of his game here and if we listeners are disappointed by not having a theme running through our heads, we are soothed by the poignant moments in the film that are underscored expertly and tenderly.

John Williams - "Jaws" (Anniversary Issue) Upon listening to this music again it occurred to me how this music has attached itself somewhere in my subconscious. I remember each scene visually when I hear each piece. This anniversary issue has some previously unreleased tracks and in some cases that means they weren't good enough for the original soundtrack but that's not the case in this recording. This is the kind of work that John Williams does so well; creating a musical environment. It's too bad that I like this soundtrack so much because I am missing a great opportunity to say....Jaws? "It Bites". Darn.

Christopher Young - "Bless The Child" Despite Christopher Young's painstaking orchestration this soundtrack rings terribly ordinary. Mr. Young has scored many films in this genre and one would expect that he would be looking to stretch some limits here but what we get instead is a richly orchestrated series of minor chords with sparse uninspired melodies. The song titles "Kyrie Eleison" and "Agnus Dei" reflect the obvious religious theme and typical to films like these we hear the sullen monks singing in Latin type effect. I guess I'm just tired of this kind of score no matter how well it's orchestrated. The irony here is that my favorite portions of this score occur when there is only a piano and some quiet strings. I have it on good authority that the movie is even less inspiring than the score, which is really scary! Sorry, no speakers.

James Horner - "Windtalkers" Well, apart from the fact that this music is rather self plagiaristic from his amazing Braveheart soundtrack with a bit of an Aaron Copeland thing happening there as well, this is a very nice work. Fortunately, if you are going to imitate anything, these are two very good sources and the music in this soundtrack is quite nice to listen to. Horner's compositions are often crafted as well as any contemporary composer and he does a very nice job here of building intensity while keeping an overall subdued quality in tact.

John Barry - "Enigma" This is a moody understated work from the composer of "Out of Africa", "Jagged Edge", several Bond films and so many more that his list of credits is 20 pages long. I have to say however that this soundtrack is not on my top 10 Barry compositions. This rather minimal score carries more mood than it does melody. Still in all I have to give Barry credit for his orchestration and his uncanny ability to bring you places without you even noticing that it's happened.

Lisa Gerrard, Pieter Bourke - "Ali" This soundtrack includes some great cuts like "That's how it feels" by Soul Clan. Lisa Gerrard along with Pieter Bourke have very nicely crafted original music around some of these classic songs that is able to both reflect the mood and timbre of that era and add a flavor that is unique and fresh. Gerrard's voice is ever captivating and very effective in within this score.

Wendy Carlos - "Tron" This reissue of the 1982 cyber adventure classic begs the question. does the music still hold up after all these years? The answer is yes. It is still amazing to me to hear Ms. Carlos' intense electronic orchestrations and this is the first time you will ever get to hear this music in CD format. Highly recommend it.