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Filmtracks Awards: 2007
Decorative Nonsense
The absence of A-list Hollywood names is the most striking aspect of the Filmtracks awards in 2007, confirming (like the year before) the end of the days when such recognition was consistently dominated by names like James Horner, Hans Zimmer, Danny Elfman, the semi-retired John Williams, and the late Jerry Goldsmith. A largely younger and more internationally flavored collection of composers is recognized this year for blazing new trails and exploring fantastic variations on old ones.

The nominations are spread around more evenly this year as well, with James Newton Howard and Brian Tyler receiving four nominations apiece and three each for Philippe Rombi and Carlo Siliotto. Earning two nominations per composer are Alexandre Desplat, Jane Antonia Cornish, and Marco Beltrami.
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Angel (Philippe Rombi) ** using European release year
 •Nomad: The Warrior (Carlo Siliotto)
 •Island of Lost Souls (Jane Antonia Cornish) **** using Canadian release year
 •Partition (Brian Tyler)
 •3:10 to Yuma (Marco Beltrami)

Stepping into the shoes of Georges Delerue and offering a Golden Age throwback of the highest order is Philippe Rombi, who edges Carlo Siliotto's raw energy in Nomad: The Warrior for the best of the year. None of these composers had been nominated by Filmtracks for its top award before. Coincidentally, the rankings of these top five scores are equal to their alphabetical order.

At first considered for a nomination in the sixth position was Alexandre Desplat's popular and technically intelligent The Golden Compass, but it eventually settled as this year's runner-up. A strong collection of honorable mentions include Christopher Young's Ghost Rider, Philip Glass' Notes on a Scandal, James Newton Howard's The Water Horse: Legend of the Deep, and Howard Shore's Eastern Promises.
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Alexandre Desplat
 •James Newton Howard
 •Alan Menken
 •Brian Tyler

The field for top composer in 2007 is rather slim, for so few of them had a very prolific year of quality activity. Leading the pack with the pair of The Golden Compass and Lust, Caution (and officially signaling his arrival in the international mainstream) is Alexandre Desplat. Finishing the year strong is James Newton Howard, with solid efforts for The Water Horse: Legend of the Deep and I Am Legend. Alan Menken gets a nomination in this category for proving the continued relevance of his old Disney musical style with Enhanted. Dario Marianelli, whose Atonement earned him mainstream awards recognition, just missed the cut with a decent but underwhelming year.
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 •Aliens vs. Predator - Requiem (Brian Tyler)  "Requiem Epilogue"
Angel (Philippe Rombi)  "The Real Life of Angel Deverell"
 •Angel (Philippe Rombi)  "Marry Me"
 •Eastern Promises (Howard Shore)  "Trans-Siberian Diary"
 •Evan Almighty (John Debney)  "The Flood"
 •Flood (Debbie Wiseman)  "Flood"
 •Ghost Rider (Christopher Young)  "The West Was Built on Legends"
 •The Golden Compass (Alexandre Desplat)  "Ice Bear Combat"
 •I Am Legend (James Newton Howard)  "Evacuation"
 •Island of Lost Souls (Jane Antonia Cornish)  "Bridge and End Titles"
 •Nomad: The Warrior (Carlo Siliotto)  "The Duel"
 •Nomad: The Warrior (Carlo Siliotto)  "Kazakh Victory"
 •Partition (Brian Tyler)  "Partition End Title"
 •Stardust (Ilan Eshkeri)  "Prologue (Through the Wall)"
 •Sword of the Stranger (Naoki Sato)  "The Blade of Hope"
 •3:10 to Yuma (Marco Beltrami)  "Chinese Democracy"
 •The Water Horse: Legend of the Deep (James Newton Howard)  "Swimming"
 •The Water Horse: Legend of the Deep (James Newton Howard)  "End of the Story"

A somewhat slim collection of nominees this year include two each from the year's best scores, Philippe Rombi's Angel and Carlo Siliotto's Nomad: The Warrior. The two nominated cues representing James Newton Howard's The Water Horse: Legend of the Deep feature the score's irresistible wordless vocal performances by Sinead O'Connor. Several highlights exist from Christopher Young's super-cool Ghost Rider, led by its finale.

It's difficult to choose singular highlights from Alexandre Desplat's The Golden Compass because the composer spreads the wealth of that score over its entire length, but the opening of "Ice Bear Combat" is especially memorable. Foreshadowing Debbie Wiseman's 2009 score for Lesbian Vampire Killers is Hayley Westenra's performance in the concert suite for the otherwise drab Flood. A guilty pleasure throughout, Ilan Eshkeri's Stardust opens with stereotypical fantasy tones at their best. The nominated cues from Brian Tyler's Partition and Jane Antonia Cornish's Island of Lost Souls close out their albums with satisfying summaries of those scores' major themes.
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