Newest Major Reviews:.This Month's Most Popular Reviews: Best-Selling Albums:
. 1. Transformers: Last Knight
2. Cars 3
3. The Mummy
4. Wonder Woman
5. POTC: Dead Men Tell No Tales
. . 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 April, 2001:





4/30/01 - News from the London Symphony Orchestra: The famous performing group has completed all 11 sessions of recording for Elliot Goldenthal's highly anticipated Final Fantasy: The Spirits Within. The CGI film will feature a massive orchestral score, with 16 French horns, 8 trombones, choir, and a wide range of percussion. Also recorded is John Cameron's oriental score for the WWII film To End All Wars. The highlight of the London Symphony Orchestra's early summer schedule is Jerry Goldsmith's concert on June 28th in the spectacular Royal Albert Hall. The legendary composer will conduct suites from Star Trek: First Contact, Planet of the Apes, The Blue Max, The First Great Train Robbery, Supergirl, as well as samples of his early television themes. For this performance, Goldsmith will present the world premiere of a new suite of music from the popular sports film Rudy. Ticket holders will also be able to attend a pre-concert talk when Goldsmith will discuss his illustrious Hollywood career. To purchase tickets for this event or learn more about the current and upcoming film score projects of the performing group, visit the London Symphony Orchestra website.

4/28/01 - Just Visiting: (John Powell and Nick Glennie-Smith) "This nonsensical film is a rehash of a European franchise of Visitor films that has now degraded to the level of American franchising. When you look at the basic storyline, nothing really ever changes. And yet, Just Visiting marks the embarrassing series debut in America, and a perfect match was established between the production and the Media Ventures buddies of John Powell and Nick Glennie-Smith. There's just something so false and ridiculous about the whole film as an endeavor that it is fitting that the accompanying score would be an auto-pilot Media Ventures effort that would, musically speaking, add nothing substantially new to the careers of the composers. From the trailers, film music fans who purchase this score without having seen the film would assume another comedy routine of Chicken Run proportions (after all, that score remains one of the most popular comedy scores of the past five years). Unfortunately, Just Visiting is a less inspiring and cheaper result...." ** Read the entire review.

4/22/01 - Frank Herbert's Dune (TV): (Graeme Revell) "With so much cult controversy revolving around the David Lynch adaptation of the epic novel in 1984, it was inevitable that another attempt would be made to better conceptualize Herbert's plot. Writer and director John Harrison's 288-minute television miniseries (airing on the Sci-Fi Channel in December, 2000) of Dune is neither perfect, nor is it necessarily better than the feature film version by Lynch. Where the 1984 film failed, the new television film improves drastically. Unfortunately, while attempting to improve upon the weaknesses of the previous film, this new Sci-Fi Channel affair forgets to take a lesson or two from the strengths of the Lynch version. The acting in the 2000 film is a stunning embarrassment, with William Hurt as an expressionless and seemingly medicated Duke Leto and Alec Newman portraying an uninspiring and desensitized Paul Atreides. Also completely lost in the new film is the epic scope of the story, with few special effects and entire scenes of action simply omitted to avoid costs and keep the story based at ground level with the characters...." ** Read the entire review.

4/21/01 - The Replacements: (John Debney) "Sometimes, you just have to sit and wonder... This film, a football comedy about the 1987 NFL players' strike, in which Keanu Reeves plays a scab quarterback on the losing end of a career while coach Gene Hackman and team owner Jack Warden lord over the unfortunate proceedings, has shaky merits at best. There is no way kind to say that a movie sucks, but this one does. To its credit, though, the producers of the film spent a enormous wealth of money to garner the rights to parade dozens of well known songs over the speakers during the film. Many of them were sports related, but in total, they all represent a certain in-your-face attitude that the film wanted to exploit. People who saw the film came away with the collection of songs fresh on their mind, and immediately flocked to buy the soundtrack. What they found, however, was an absurd score by John Debney and only one or two of the songs that they really wanted. Thus, after selling well at record stores initially, the album for The Replacements has become one of the most frequent occurances in used CD bins of recent memory...." * Read the entire review.

4/20/01 - Cliffhanger: (Trevor Jones) --All new review-- "This film is one of those guilty pleasures that you see on television occasionally, with a stereotypical plot of terrorist hijackings in spectacular remote settings. For many people, the film's weaknesses are more than compensated for by two key positives: first, John Lithgow's wonderful performance as the treacherous ringleader of the terrorists, and second, Trevor Jones' soaring orchestral score. The film landed with a splash in 1993, however the competition with Jurassic Park simultaneously in the theatres caused Cliffhanger to fade somewhat into the ranks of lesser known action blockbusters. While it was difficult to compete with John Williams' Jurassic score a well, Trevor Jones was hot at the time. He had just come off of a confusing and disjointed project with Randy Edelman, Last of the Mohicans, which had actually turned into an incredible success in album sales for the score to that film. In fact, Last of the Mohicans would continue to sell so well on CD in the following ten years, that the immediately following Cliffhanger has been forced into relative obscurity...." *** Read the entire review.

4/19/01 - The Golden Bowl: (Richard Robbins) "To say that Merchant Ivory Productions appeal to a certain, narrow audience of devoted and dramatic period films is not too far of a leap. With dozens of adaptations of classic dramatic novels under their belts, the Merchant Ivory team continues to produce films of character development that take place in the 1800's or early 1900's. While these films always appeal to the arthouse crowds, and sometimes even garner Academy recognition in their successes, the films are never blockbuster hits. After all, nearly all of the Merchant Ivory films involve a considerable amount of lengthy toiling between the talking heads of several characters. For some, these films become a wash, exhibiting the same kind of thematic character wrestling that binds all the films together on a fundamental level. The Golden Bowl involves two sets of characters in the early 1900's England involved in various love affairs, betrayals, and the problems inherent in the relations between the rich and the poor. To be expected, Richard Robbins returns to score yet another chapter in the Merchant Ivory saga...." ** Read the entire review.

4/16/01 - Finished with your taxes and have nothing to do? The April-May Cue Clue Contest is now under way! If you're an American and you've suddenly realized that you owe the government thousands of dollars in taxes, take heart in the great generosity of this new Filmtracks contest! Due to popularity of last month's contest, Filmtracks and Varèse Sarabande are proud to offer ten prizes for this new contest. When you enter the contest, click the box in front of which of the following albums you'd like as a prize if you win: Along Came a Spider (the new thriller from Jerry Goldsmith), In Session (the 2-CD starter-kit of re-recorded classic themes) Monkeybone, (Anne Dudley's new and zany score), Georges Delerue (2-CD compilation of Delerue re-recordings from 1989), or Cleopatra (the recent 2-CD set of Alex North's original score). Listen to the Cue Clue Clips on the Filmtracks Cool Stuff page and give it your best shot. Good luck!

4/8/01 - In Session: A Film Music Celebration: (Compilation) "This double-CD set is the ultimate souvenir from the Varèse Sarabande label's lengthy collection of re-recordings of classic scores over the past several years. Primarily with the Royal Scottish National Orchestra in Glasgow, Varèse's executive producer Robert Townson has contracted for an endless stream of re-recordings of complete scores from classic films and composers. The majority of these efforts have yielded newly discovered life in scores of the 1960's, with music from the 1940's through the 1990's represented in total. While many of the original versions of these scores exist on other labels, these re-recordings offer interpreations, often extremely close to the originals, by top composers of today who conduct the performing groups. Continuing to this very day, composers such as Jerry Goldsmith, John Debney, and Joel McNeely take time off from their composing duties for current films to re-record these scores for Varèse Sarabande in the U.K. and U.S...." **** Read the entire review.

4/7/01 - The Ballad of Lucy Whipple: (Bruce Broughton) "February, 2001's most anticipated Sunday night television film on CBS, The Ballad of Lucy Whipple, came and went without as much praise and hooplah as some of the network's other Western/drama films of years past. It was a project produced after much time by Glenn Close, who also stars in the film. The plot line of the film is nothing atypical. It is a story of a widow and her family who move west during the gold rush in order to find a new life, and the coming of age of the children --particularly the title character, who seems frustrated by the lifestyle she discovers in the rough new land. In any case, the film is really no different than the watered down family genre of productions by Hallmark, and it is no surprise that this formula production faded away without much interest. There can only be a certain number of low budget character dramas set in the wild west before audiences begin wondering if they recognize the sets and costumes from a previous rehash of the same film...." *** Read the entire review.

4/5/01 - Monkeybone: (Anne Dudley) "From the director of The Nightmare Before Christmas and James and the Giant Peach comes yet another claymation fantasy film of lovable weirdness. For Monkeybone, the rotation of composers for this budding genre of film stopped with Anne Dudley, who has proven herself to be one of the most versatile composers of the past decade. While many mainstream fans will recognize her name from such darkly dramatic projects as The Crying Game and American History X, the lighter side of her skills is often overlooked. Not only winning the Academy Award for The Fully Monty in 1997 (which some might argue as inappropriate due to the songs' success in the film), Dudley also composed the popular score for the television fantasy The 10th Kingdom this past year. With all of these talents readily available, Dudley produced for Monkeybone exactly that which you would expect for the director of the film. The uncanny similarities between this score and those of Danny Elfman's early wackiness during the days of Pee Wee and Beetlejuice is clearly evident, and it fits this particular film well enough...." *** Read the entire review.

4/4/01 - Pollock: (Jeff Beal) "If you are one of those people familiar with the artwork of Jackson Pollock, you'll know that it is largely spontaneous and obscure in its expression of emotion and thought. When producing, directing, and starring in the (eventually) award-winning film about the artist's troubled life, Ed Harris had a specific sound in mind for the score. He knew that certain aspects of the real life man should play a part in the score, including a slight preference for jazz and an experience which revolves around a banjo. After rejecting the preliminary works of two other composers, Harris finally heard the kind of music he wanted for the film from Jeff Beal. Known throughout the circle of jazz followers as a contemporary performer and composer of that genre, Beal's work in the past has combined jazzy instrumentation and rhythm with classical overtones. As ultimately the chosen match for Harris' project, Beal's score for Pollock would be critically embraced in and out of the industry, even though it has been popularly overlooked by mainstream film score fans....." *** Read the entire review.

4/1/01 - The April, 2001, Theme of the Month is a look at the current rankings of film music record labels. Film music is inherently different from most other forms of music when it comes to its release on CD. It is the one genre of music which is not specifically aimed at album listeners; because it is composed for a film or show, not every piece of music written in this genre makes it onto a CD album release. Neverthess, there are both well known and specialty record labels that often take fiscal chances in order to publish these film and television scores on CD. In the list below, Filmtracks ranks the top labels pertaining to the film music genre. This gives you, the fans, the opportunity to keep an eye on these labels so that you can learn about the biggest and best upcoming albums on their sites. Click here to browse the rankings!






Page created 4/6/01, updated 4/8/01. Version 2.1 (Filmtracks Publishing). Copyright © 2000-2001, 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.