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March/April 2018
4/23/18 The Lost World: Jurassic Park   (John Williams)
Updated Review, With Additional Album
Buy it... if you can dismiss this score's positioning in a franchise and therefore appreciate John Williams' most violently brutal, percussively rhythmic score of the digital age, one led by several monstrously propulsive cues of rambling, exotic power.
Avoid it... if you expect this sequel score to make satisfyingly intelligent use of the classic themes and secondary motifs from Jurassic Park, an unnecessary executive choice that makes this score an impressive but disappointing shadow of its predecessor.
4/14/18 Jurassic Park   (John Williams)
Updated Review, With Additional Album
Buy it... if you are prepared for a superior John Williams crossover score that connects the high-flying fantasy of his early 1980's triumphs with the more complex rhythms, instrumentation, and density of his 1990's works.
Avoid it... on the heavily rearranged edits of the score for the 1993 and 2013 albums if you can obtain the 2016 set that finally offers the complete, chronological presentation of this large-scale adventure and horror classic.
4/3/18 Robin Hood: Prince of Thieves   (Michael Kamen)
Updated Review, With Additional Album
Buy it... on the outstanding 2018 expanded album if you seek a comprehensive presentation of this flawed but occasionally highly entertaining score, a work highlighted by a memorable title fanfare and fine orchestral interpolations of the melody from the famous Bryan Adams song for the film.
Avoid it... if you expect the whole of Michael Kamen's music to soar with any sense of convincing swashbuckling spirit or, quite frankly, if you demand a decent performance and recording mix for a score that deserved far better execution.
3/17/18 Filmtracks announces its 2017 award nominees and winners
Filmtracks celebrates the best film music of 2017 with its annual nominees and winners in the categories of "Top Film Scores," "Top Composers," and "Top Film Cues." The nominees for "Top Film Scores" in 2017 are:
Beauty and the Beast  (Alan Menken)
Bitter Harvest  (Benjamin Wallfisch)
Murder on the Orient Express  (Patrick Doyle)
Star Wars: The Last Jedi  (John Williams)
Viceroy's House  (A.R. Rahman)
Visit the 2017 Awards section to view the winners (and other categories). For more information about these awards or to view the results from previous years, browse the Filmtracks Awards index page.
3/9/18 Bitter Harvest   (Benjamin Wallfisch)
All New Review
Buy it... if you desire respectfully ethnic, romantically longing music for a challenging depiction of genocide, Benjamin Wallfisch supplying conservative but very well executed dramatic melodicism for this otherwise disastrous film.
Avoid it... if you require your orchestral and vocal melodrama to strike a more imposing posture for a historical tragedy, this score seemingly content to explore the majority of its themes without the overwhelming weight the topic might have demanded to engage otherwise bored audiences.
3/2/18 Viceroy's House   (A.R. Rahman)
All New Review
Buy it... if you do not doubt A.R. Rahman's ability to record a lovely and heartfelt merging of Western orchestra and Indian instrumentation and vocals for a highly lyrical and accessibly dramatic experience.
Avoid it... on the score-only album if you seek the credits' song interpolation of the score's main themes or on screen if you expect Rahman's music to be applied with satisfying consistency of presence in context.
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