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 October/November, 2002:





11/26/02 - Filmtracks has just moved to a new server! If you are reading this On Cue entry, then that means you are being served from Filmtracks' new, significantly faster Linux machine. Due to Filmtracks' continuing expansion, the site has been outgrowing its servers every 18 months. The interactive sections of the site (the viewer comments, ratings, ScoreBoard, etc) benefit the most from the server upgrade, and you are encouraged to test them out if you have not already explored them. With this new server, we hope to get through to 2005 before needing another upgrade. We thank you for your patience during the momentary downtime that accompanied this move over the past few days. And to all you Americans: happy Thanksgiving! Eat, drink, and try not to kill any in-laws!

10/30/02 - Sneakers: (James Horner) --All New Review-- "One of James Horner's sleeper hits with his fans, Sneakers is an enduring score of note in Horner's career. The film is blessed with an extraordinary cast and a tightly woven script of espionage and technology. It is a fast paced thriller of a project that required a classy, urban suspense and charm. James Horner was at a point in his career when he produced several blockbuster scores that, despite immense popularity, had gained him little praise from critics and his peers. The years 1992 and 1993 were a time when Horner produced introverted scores more often than not. It was music that followed a philosophy of less-is-more that led to some arguable successes (Thunderheart) and some arguable disappointments (Patriot Games) for those fans who were accustomed to Horner's grand styles. Sneakers fell somewhere in the middle. It didn't re-use substantial portions of Horner's other works, and introduced a whole new, staggered form of theme-building that Horner fans had never heard before. It may, indeed, have taken a page or two from the likes of Bernstein and Goldsmith, but for Horner, it was still new ground...." *** Read the entire review.

10/29/02 - Balto: (James Horner) --All New Review-- "Marking the substantial end to James Horner's string of successful scores for children's films, it would be several years before Horner would revisit the genre. After the large scale popularity of the orchestral powerhouse scores for the live-action films Willow and Glory, he had taken a curious assortment of assignments that often included the scoring of animated childrens films --some of note and others of box office obscurity. At the time, these full, energizing scores for animated films were the beginning of the fuel for the fire as far as negative Horner critics were concerned. The animated film scores, while none so dynamic as The Land Before Time in 1988, were all similar in style, orchestration, and theme. For the animated scene, he could get away with this re-use (after all, kids and thankful parents couldn't care less which musical motifs were repeated several times). An argument could be made that the negativity that erupted around Horner's career in regards to his self rip-offs began in the early 90's because he was producing more scores like Pagemaster and Balto and less along the original lines of Sneakers and Legends of the Fall...." **** Read the entire review.

10/15/02 - Twister: (Mark Mancina) --All New Review-- "The summer of 1996 was a bonanza for big budget action films, and it also served as a formal introduction to the Media Ventures breakthrough in scoring technology. Competing with the likes of Independence Day and The Rock, Twister fared well. While the tornado flick with stunning visual effects achieved mainstream success in both the short and long term, the music for the film was equally attractive to audiences. For the most part, this attraction led to the high sales of the rock song compilation album. The film was heavy with rock song use, mixing the songs and orchestral chase score in an often choppy moment to moment set of transitions. The song compilation album immediately hit the charts at the film's opening, while score fans were forced to wait several months for Mark Mancina's work for the film. The previous year, Hans Zimmer had introduced his electronic scoring mastery for the first time in its most successful, male-driven action genre (Crimson Tide). The next summer, both The Rock and Twister would extend that sound into the mainstream for good...." *** Read the entire review.

10/5/02 - Filmtracks celebrates its 6th birthday with two long-overdue updates. First, the Search Engine at the site has been reworked for the first time since 1997. Needless to say, that old search feature was a dinosaur by web standards. Starting today, it finally produces a proper relevancy ranking so that it can identify which score or composer you're looking for and run the search appropriately. The results of every search also now provide a short description of each page. Perhaps more importantly to long-time Filmtracks fans, a third batch has now been added to the strangely popular Faux Pas Page. With its URL featured in a nationally circulated adult magazine this past year, the page is a growing carnival of bad behavior and serves as testimony to how bizarre the web really is. A whopping 120 new faux pas e-mails are added in this third batch. Please be aware: The Faux Pas Page is not for people who are timid or easily offended!

10/3/02 - Simone: (Carter Burwell) "Touted as one of the year's potential hits on the big screen, Simone is the creative tale of Hollywood's first computer-generated actress whose digital genetics are unknown to the public and industry at large. The director, played by Al Pacino, has to contend with this fraud when the actress turns out to be a big hit as a last minute replacement in one of this films. Along with the fear of discovery, the director has to deal with his own sense of reality involving the digital actress. The real director of Simone is Andrew Niccol, whose Gattaca ran along similar themes of futuristic identity. The writer's credits also includes The Truman Show, leading the way for Simone to be yet another self-analyzing satire of Hollywood. Composer Carter Burwell, whose technique at composing for a dry sense of humor (especially with so much experience with the Coen Brothers' films) is well documented, provides a similarly snazzy little score for a more futuristic tone. The film, unfortunately, did not reach any of its expectations, and it disappeared off the radar screens..." *** Read the entire review.






Page created 2/5/03, updated 2/7/03. Version 2.1 (Filmtracks Publishing). Copyright © 2001-2003, 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.