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   CURRENT NUMBER OF:
     • Years Online: 20
    • Editorial Reviews: 1,866
   • Unique Albums Covered: 2,530
  • Reader Messages Posted: 353,913
 • Reader Votes Cast: 2,430,842


   CURRENT BEST-SELLING SCORES:
       1. Rogue One: A Star Wars Story
      2. Fantastic Beasts/Find Them
     3. Willow
    4. The Ghost and the Darkness
   5. An American Tail
  6. The Wind and the Lion
 7. Doctor Strange
8. 10 Cloverfield Lane
   CURRENT MOST POPULAR REVIEWS:
         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
The Lego Batman Movie
Fifty Shades Darker
Hidden Figures
La La Land
Rogue One: A Star Wars Story
Moana
Covering the best and worst of original film and television music from America's Big Sky Country since 1996, Filmtracks is your spirited home for comprehensive, humorous, and controversial soundtrack reviews. Join our community to support this niche music genre!
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ON CUE
5/15/17 Seven   (Howard Shore)
Updated Review, With Additional Album
Buy it... only if you are prepared to be bludgeoned by Howard Shore's menacingly churning and frightfully depressing, growling, bass-heavy score, heard in its only consistent, impactful form during the climactic execution scene.
Avoid it... on the original commercial album if you expect it to contain either of the opening or closing credits songs or any consistent representation of the film's incredibly oppressive mood.
5/10/17 Scream 2   (Marco Beltrami/Danny Elfman)
Updated Review, With Additional Album
Buy it... on the 1998 album if you seek just a small but surprisingly adequate taste of the most memorable Marco Beltrami cues from the first two scores in the Scream franchise.
Avoid it... on that 1998 product if you desire a more faithful representation of Beltrami's improved symphonic and synthetic blend for Scream 2 and the associated Danny Elfman music for that film, in which case the 2016 album is the clear winner.
5/7/17 Scream   (Marco Beltrami)
Expanded Review
Buy it... on the 1998 album if you seek just a small but surprisingly adequate taste of the most memorable Marco Beltrami cues from the first two scores in the Scream franchise.
Avoid it... on the longer 2011 product if you expect the stock suspense and horror material from Scream to compete favorably with its contemporaries or, for that matter, its own sequels.
4/30/17 The Haunted Mansion   (Mark Mancina)
Updated Review, With Additional Album
Buy it... on the 2016 Intrada set if you have fond memories of the Disney attraction's morbidly alluring music, Mark Mancina faithfully extending the gothic sound of the rides into the cinematic adaptation.
Avoid it... on Disney's insufficient 20-minute promotional score album from the time of the film's release, Mancina's impressively melodic, well-orchestrated work deserving far better than any short summary.
4/23/17 Hellboy   (Marco Beltrami)
Updated Review, With Additional Album
Buy it... if you desire one of Marco Beltrami's most rounded and entertaining career achievements, extending his orchestral and choral talents to both majestic and carnival-like ends in an alternately quirky and awesome superhero score.
Avoid it... on the original 2004 album at all costs unless you desire badly incomplete film score presentations and obnoxious clicking sounds; seek only the outstanding 2016 expansion if you have any interest in this music.
4/16/17 The Omen   (Jerry Goldsmith)
Updated Review, With Additional Album
Buy it... if you seek the source of the majority of horror soundtrack cliches utilized by countless composers after 1976, because The Omen is an extremely intelligent, groundbreaking, and brutal work of art.
Avoid it... if you try not to be challenged by your film music experiences on album, especially in such an oppressive and mean-spirited manner as this.
4/9/17 Star Trek Beyond   (Michael Giacchino)
Updated Review, With Additional Album
Buy it... if you have awaited Michael Giacchino's addition of the sadly missing romantic element into his "Star Trek" scores, joined in this third entry by a few nostalgic glances backward to the scores of Jerry Goldsmith and James Horner.
Avoid it... if you require strong new thematic identities in your "Star Trek" scores, the majority of new ideas by Giacchino for this score a mixture of elusive, unnecessary, derivative, and ineffective.
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