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 September, 2001:





9/30/01 - When Good Ghouls Go Bad: (Christopher Gordon) "Launched on VHS and DVD six weeks prior by Twentieth Century Fox Home Entertainment, When Good Ghouls Go Bad is a Fox made-for-TV kid's film set to air on the cable network Fox Family Channel during their annual Halloween programming festival. The kid at the center of the story, Danny, has just moved to a new town, and he is horrified to learn that thanks to a curse, nobody is allowed to celebrate Halloween. Danny teams up with his recently departed Uncle Fred (as performed by the always entertaining Christopher Lloyd, appearing as the only substantial name in the production, and a rarity for Fox Family films) to drive away the ghosts responsible. As to be expected, the movie is a light combination of horror and humor, with designs for an audience similar to Monkeybone or the more popular Nightmare Before Christmas. With the production of the film located in Australia, veteran television composer Christopher Gordon was hired to conduct a performing group known as 'Pro Musica Sydney'...." *** Read the entire review.

9/29/01 - The Phantom: (David Newman) --All new review-- "Even people who are vaguely familiar with the style of composition of David Newman know that the son of the infamous Alfred Newman is capable of writing large, melodic themes for dramatic films. His ability to highlight a score with a spontaneous cue of orchestral marvel has not gone unnoticed. His score for Hoffa has arguably the most memorable and thematic material of his career. Newman produced one of the best cues of the year 2000 as well: a short, but brilliant piece for the outlandish ending of Bowfinger. In the middle of the 1990's, there was a short-lived push to bring more radio and comic action icons to the big screen, highlighted by the popular failure of 1994's The Shadow. Carrying a somewhat less interesting cast, The Phantom failed to an even greater extent, pushed aside by the heavy-weight summer releases of 1996, including Independence Day. The fad of comic book legends had died off by then (and attempts to bring it back, all the way to 2000's X-Men suffered similar fates), but the film scores of that genre remain as a curious entry...." *** Read the entire review.

9/27/01 - Opinions about the music for Enterprise, the newest series in the saga of Star Trek, are coming fast and furious. Quite literally. The response to the Paramount and/or UPN executives' decision to use a Russell Watson performance of Diane Warren's "Faith of the Heart" song during the Enterprise opening titles has been disasterous, with a vast majority of Trek music fans expressing their extreme disgust with the song. Despite the popular success of the show so far, the song is the sole and instantaneous source of angst for both devoted and casual fans of the Star Trek franchise. At Filmtracks' ScoreBoard and E-mail box, the song has been referred to as "lousy," "dated," "awful," and "disgraceful." Others said, "it must go" and "it ruins the credits." On the other hand, response to Dennis McCarthy's orchestral underscore has been neutral to positive. Do you have an opinion about the Enterprise song controversy? Let it all out at the Filmtracks ScoreBoard.

9/11/01 - In response to the horrific terrorist attacks today against the United States of America, Filmtracks offers its concerns and condolences to all of those affected, and especially our friends who work at the record labels in New York City. There is no excuse or explanation that will bring back the thousands of lives lost. Americans can be, more than perhaps any other civilization, the most vengeful people of the world, but it is important for rage to be contained in favor of patience. With the most powerful military might of any nation, the United States will likely avenge these cowardly attacks with an overwhelming force of retaliation. Let us all just hope that our world leaders think hard and long before leveling their missiles on the countries suspected of housing the terrorist masterminds. We encourage you to talk about this second day of infamy in American history at the Filmtracks ScoreBoard. May the United States prevail in justice.

9/10/01 - Medicine Man: (Jerry Goldsmith) --All new review-- "A much too forgotten gem in Goldsmith's career, Medicine Man was a score that has managed to survive the horrific box office failure of the film. While containing an interesting cast and politically charged message, the film's timing and lack of mainstream appeal doomed it to the back shelves at the rental stores. Goldsmith's large-scale score for the film, though, continues to sell well and be re-used at public events. Its generous performances of ethnic and orchestral creativity show the obvious labor with which Goldsmith toiled to write this score... a considerable labor that would be lacking in his scores a decade later. In 1992, Goldsmith was still at the height of his mastery of electronic and orchestral melding, and Medicine Man takes both of these elements and combines them with a diverse percussion section to recreate the exotic, foreign, and romantic atmosphere of the rain forests. The only redeeming part of the film is indeed the Goldsmith score, which simply dominates several scenes..." **** Read the entire review.

9/9/01 - Goldeneye: (Eric Serra) --All new review-- "In 1995, the Bond franchise was finally beginning to get some things right. The belated debut of Pierce Brosnan marked the end of the longest lapse ever in the production of the series, and along with some thigh crushing actresses and an intensely popular movie poster and game spinoff, the film was a fiscal success. It paved the way for three more Bond films to star Brosnan, ensuring the continuation of the original idea to a time that Ian Fleming couldn't have even dreamt about. The music for Goldeneye was the only tricky proposition. John Barry had been quoted by numerous sources that he believed the modern 80's and 90's Bond films were nothing more than formula immitations of the 60's Bond films (and to and extent, he is right). He declined participation in the project, leaving The Living Daylights as his outstanding final Bond score. The producers at M-G-M decided, and rightly so, that they wanted to continue Barry's late Bond score push into the modern rock and electronica sound, keeping only a faint resemblence to the 60's jazz for the sake of continuity...." * Read the entire review.

9/8/01 - Michael Collins: (Elliot Goldenthal) --All new review-- "Proving that the young composer was here to stay, Michael Collins garnered Elliot Goldenthal with his second Academy Award nomination. Although he would not win such an award in the 1990's (nor would he be nominated again), the years of 1994 through 1996 were Goldenthal's ticket to success. While Goldenthal has been criticized by the older generations of film scoring for what may appear on the surface as a haphazard method of film scoring, he has produced a small handful of scores from all times in his career that stand apart as being among the best of their years. Michael Collins, along with Interview with a Vampire and Final Fantasy: The Spirits Within, is among these few strong entries in the composer's career. The year of 1996 was a rather bland entry itself, coming on the heels of an outstanding 1995 for film scores, and Goldenthal's Michael Collins hit early in the fall season to awaiting ears...." **** Read the entire review.

9/7/01 - Judas Kiss: The Film Music of Christopher Young: (Christopher Young) "The career of Christopher Young has been as diverse as any in the current generation of film music composers. When he first blasted onto the scoring scene in the 1980's, he stunned audiences with his magical and robust horror scores, many of which produced the kind of massive orchestral terror not heard in a generation. His Hellraiser scores alone put him on the map in Hollywood, leading to five or so years of producing quality horror and suspense scores for such films as Copycat and Species. His fan base strong at the time, many of Young's works filtered out into the secondary market in the form of promotional CDs handled by Intrada Records, since only a fraction of his recorded work has been published on a commercial album. These promotional albums have since become highly valuable collector's items. Young's ability to adapt for nearly any scoring project makes him a respected veteran of film scoring, with his filmography showing a bizarre collection of seemingly unrelated subject matters...." ** Read the entire review.

9/6/01 - Arlington Road: (Angelo Badalamenti) --All new review-- "One of 1999's scariest psychological thrillers, Arlington Road is both a mental and emotional horror film. It's one of those "urban nightmare stories" in which your newly befriended next store neighbor turns out to be a cold blooded mass bomber, and a mastermind who never loses. The film is one that will keep you on the edge of your seats for a number of scenes, though it stretches logic beyond reasonable bounds at nearly every important turn of the plot. The story is ultimately a futile endeavor, with every value and or person you care about shattered or dead, and it's the kind of film that makes you sit and wonder why you have just spent two hours in order to feel so bad about the world. Nevertheless, the film has inspired a sort of cult following, in spite of the boycott that some conservative organizations have placed on the film for its grotesquely bloody and disturbing opening scene. Called to the task of scoring this thriller is Angelo Badalamenti, who is best known for his collaborations with director David Lynch...." * Read the entire review.

9/5/01 - The Lion in Winter: (John Barry) "When John Barry scored the stage story of The Lion in Winter in 1968, he was at the height of his James Bond popularity, with the world knowing him only for his sassy Bond scores (or maybe for his jazz band recordings --who could ever forget Beat Girl?). Only serious film score collectors were aware of the true merits that Barry displayed in his earlier 1960's score such as Zulu and Born Free. Upon glancing at the script and cast for The Lion in Winter, one would not have associated Barry with the project even at that time, but his friendship with the director of the film allowed Barry the opportunity to create a score that would change the public's impression of him forever. What's important to understand about the score to this film is the simple fact that it wasn't necessary for Barry to create such an "over the top" score. In the end, however, it would be John Barry standing on the stage alongside Katherine Hepburn and screenwriter James Goldman and accepting an Academy Award for The Lion in Winter...." ***** Read the entire review.

9/4/01 - Stargate SG-1: (Joel Goldsmith, David Arnold, Kevin Kiner, Richard Band, and Dennis McCarthy) "It's easy to be skeptical whenever a television series follows a popular film, and especially a film that has a score that has risen to the status of "cult classic" in the years since its composer has become famous. The television scores, due to budgetary restrictions, usually offer of a much poorer quality than the original. They also, in many cases, fail to use the popular themes from the original film; nor do they often establish strong themes of their own. When the first Stargate SG-1 album came out, it was a surprise to many people who had enjoyed the film score, but were not familiar with the television show. The show not only made use of David Arnold's themes for the film, but heavily so, and the interpolation between the original music by Joel Goldsmith and Arnold was overwhelming. With the popularity of the show persisting, a second album of Stargate SG-1 music was released three years after the first, providing a comprehensive blanket of music from the show's musically successful first season...." **** Read the entire review.

9/3/01 - Battle Beyond the Stars/Humanoids from the Deep: (James Horner) "Imagine, for a moment, a time when film music collectors listened to James Horner's music in the theatres and not one of them compared that music to a previous Horner score. Sounds funny, doesn't it? Well, in the case of Battle Beyond the Stars, this phenomenon existed because Horner hadn't produced a major feature film score yet. But being the first in an illustrious career doesn't automatically mean there isn't some "borrowing" going on. Horner's career has been a hotbed of controversy regarding Horner's tendancies to re-use and borrow material. Even that hotbed has a storybook beginning. Horner was lucky enough to be noticed by Roger Corman for use in the films represented on this album, and it is Battle Beyond the Stars which directly caused Horner's employment on Star Trek II: The Wrath of Khan and an acquaintence with Battle Beyond the Stars art director James Cameron. Horner was fresh out of his Doctorate education in music composition and theory when he landed the position with Corman, making his story very similar to Cliff Eidelman's, especially with the dual involvement with the Star Trek franchise...." **** Read the entire review.






Page created 10/16/01, updated 10/21/01. Version 2.1 (Filmtracks Publishing). Copyright © 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.