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Avatar: Fire and Ash
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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3/13/26 Wah-Wah   (Patrick Doyle)
All New Review
Buy it... for a conservatively attractive Patrick Doyle character drama that is easy to digest but offers nothing of true distinction.
Avoid it... and seek Doyle's related music for A United Kingdom if you desire more symphonic resonance for similar locales and general story concepts.
3/11/26 The Island   (Steve Jablonsky)
Updated Review, With Additional Album
Buy it... if you accept that Hans Zimmer's clone army was an ironically perfect selection to compose this music, because all the worst traits of his vintage Media Ventures action and the finale of Gladiator are mindlessly regurgitated.
Avoid it... for anything other than its famous final cue, because the other 100 minutes of music from Steve Jablonsky and five others for this film is largely insufferable.
3/9/26 Black Sunday   (John Williams)
Updated Review, With Additional Album
Buy it... if you seek a grim, but intelligent maturation of John Williams' morbidly suspenseful thriller material that had developed throughout his disaster scores of the 1970's.
Avoid it... if you expect any part of this score to rival Williams' famous alternatives in 1977, for as technically precise as his subdued ideas for Black Sunday may be, they are not as memorable in most of their elaborations.
3/5/26 Filmtracks announces its 2025 Awards
Filmtracks celebrates the best film music of 2025 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 2025 are:
• Avatar: Fire and Ash  (Simon Franglen)
• Final Destination Bloodlines  (Tim Wynn)
• How to Train Your Dragon  (John Powell)
• Now You See Me: Now You Don't  (Brian Tyler)
• Wicked: For Good  (John Powell/Stephen Schwartz)
Visit the 2025 Awards section to view the winners (and other categories). Also available is an official page for the 2025 Filmtracks Community Awards. For more information about these awards or to view the results from previous years, browse the Filmtracks Awards index.
3/2/26 Frankenstein   (Alexandre Desplat)
All New Review
Buy it... for its magnificent highlights, Alexandre Desplat exploring robust and lyrical fantasy tones that yield plenty of engaging moments of gothic romanticism.
Avoid it... if you aren't prepared to sift through a long album presentation to extract the melodic attractions from the smooth but sometimes atmospheric narrative of unfulfilled thematic branches.
2/27/26 Anaconda   (David Fleming)
All New Review
Buy it... for its infectiously brilliant set of themes, David Fleming applying parody techniques to this franchise with extremely effective instrumental personality.
Avoid it... because you have no sense of humor whatsoever and have no interest in music that doesn't take itself seriously despite its inherent coolness.
2/24/26 Descalzos   (Òscar Martìn Leanizbarrutia)
All New Review
Buy it... for continued melodramatic mastery from Òscar Martìn Leanizbarrutia, whose techniques for soloists over an orchestral ensemble remained highly enticing through the early 2020's.
Avoid it... if you cannot tolerate the basic fact that this score exists as part of a hybrid adaptation of previously existing, faith-based youth group songs that mingle with the score extensively.
2/21/26 Three Kingdoms: Starlit Heroes   (Neal Acree)
All New Review
Buy it... because you cannot resist well-executed, epic Chinese fantasy scores that competently blend Eastern and Western musical conventions to massive ends.
Avoid it... if you demand only the most cohesive thematic narratives, for the attractive identities in this engaging recording are not always applied with satisfying clarity.
2/18/26 Long Distance   (Steven Price)
All New Review
Buy it... for a highly intelligent blend of synthetic and organic fantasy elements expressing an impressive thematic core in the one of 2025's most surprising, quality scores.
Avoid it... if you have no interest in hearing Steven Price execute aggressively rough science fiction music that sounds remarkably similar in design to Andrew Lockington's Atlas.
2/16/26 Death Becomes Her   (Alan Silvestri)
All New Review
Buy it... for a technically intriguing fantasy score of comedic tumult, its representation of zombie romance built with all the right ingredients to succeed even if the end result seems rather shallow.
Avoid it... and seek The Witches instead to hear Alan Silvestri truly capture the devious humor and convincing action associated with the same general concept.
2/14/26 Primal Fear   (James Newton Howard)
All New Review
Buy it... for a carefully introspective blend of contemporary thriller and despairing noir styles, James Newton Howard very careful to execute his character strategy with restraint.
Avoid it... if you expect the score to smartly address the major plot twist through clever foreshadowing, the approach by Howard instead underplaying such potential via ineffective themes.
2/12/26 Nouvelle-France   (Patrick Doyle)
All New Review
Buy it... for melodramatic Patrick Doyle lyricism at its most extroverted, his love theme for this score an enduring favorite of the composer's enthusiasts.
Avoid it... if there is no tolerance in your heart for scores that slap you across the face with their bloated, dramatic intent from start to finish.
2/10/26 The Lost Bus   (James Newton Howard)
All New Review
Buy it... only for an extension of the mind-numbing mood of suspense and dread that you appreciated within the movie itself.
Avoid it... if you expect this score to convey any emotional sincerity, James Newton Howard returning from a two-year absence to provide a substantial amount of droning ambience.
2/8/26 The Bodyguard   (Alan Silvestri)
All New Review
Buy it... on the Alan Silvestri score album for the main character's trumpet-led noir theme and the pretty orchestral material for the story's Lake Tahoe sequence.
Avoid it... for everything else in the score, because the composer's love theme, villain material, and slew of secondary suspense and action motifs are about as unexciting as Kevin Costner's acting in the film.
2/6/26 1492: Conquest of Paradise   (Vangelis)
Updated Review, With Additional Album
Buy it... if, obviously, you consider yourself any kind of Vangelis enthusiast or if you're a fan of early 1990's choral blend new age albums in the style of the group Engima.
Avoid it... if you expect to be convinced in any way that Vangelis' style is true to the settings of the 15th Century, the score frequently inappropriate in context.
2/4/26 The English Patient   (Gabriel Yared)
Updated Review, With Additional Album
Buy it... if you were emotionally touched by the depictions of sorrow, alienation, and fate in the film and seek its appropriately somber and understated score.
Avoid it... if you expect the story's tragic romanticism to have any coherent organization on album, for Gabriel Yared's aimlessly wandering score and the plethora of source material causes a significantly disjointed listening experience.
2/2/26 Space Jam   (James Newton Howard)
All New Review
Buy it... for an intelligent, albeit wacky combination of Carl Stalling orchestral madness and James Newton Howard's own rock and fantasy sensibilities.
Avoid it... if you expect that combination of genres to function well enough in the absence of a truly coherent thematic narrative, which exists but struggles until the final third of the score.
1/31/26 Judgment Night   (Alan Silvestri)
All New Review
Buy it... for only about ten combined minutes of leftover action material from Alan Silvestri's Predator 2, the recording mix of these portions impressively resounding.
Avoid it... for everything else in the score, the composer uncharacteristically anonymous in this largely muted and ambient work of suspense.
1/29/26 Timeline   (Jerry Goldsmith/Brian Tyler)
Updated Review, With Additional Album
Buy it... on the rare Jerry Goldsmith album if you consider yourself any collector of his works whatsoever, and on the Brian Tyler album if you seek an extension of the propulsive action material you heard in his music for Children of Dune.
Avoid it... if you're hoping to hear a Goldsmith score that isn't highly derivative of his previous works or, alternately, if you're desiring a Tyler score that refines its promising themes into a meaningful narrative.
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Genesis by Eunike Tanzil
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