Newest Major Reviews:.This Month's Most Popular Reviews: Best-Selling Albums:
. 1. Star Wars: Rise of Skywalker
2. Men in Black: International
3. Dark Phoenix
4. The Secret Life of Pets 2
5. Godzilla: King of the Monsters
. . 1. Gladiator
2. Batman
3. Nightmare Before Christmas
4. Titanic
5. Justice League
6. Star Wars: The Last Jedi
7. Harry Potter: Sorcerer's Stone
8. Maleficent
9. Star Wars: The Force Awakens
10. Edward Scissorhands
. . 1. LOTR: Fellowship/Ring (2018)
2. Beauty and the Beast (Legacy)
3. Predator
4. Solo: A Star Wars Story
5. LOTR: The Two Towers (2018)
Filmtracks On Cue

On Cue for February, 2001:

2/23/01 - Lover's Prayer: (Joel McNeely) "While the quantity of his output of feature film scores has seemingly decreased recently, Joel McNeely continues to score lesser known projects. His experience with the composition of period music has been documented previously, including the recent television score for the Sally Hemmings television film. Although these films have often disappeared before even getting started, McNeely's work for these films is often more notable than the films themselves. The film Lover's Prayer, also known as All Forgotten and starring Kirsten Dunst, is a class and character tale from Britain of the 1800s, with manipulation, suitors, lust, deception, and all the wonderful plots that extend from those basic elements. For the film, McNeely once again proves his ability to compose intimate scores of a classical influence. It's a genre that he first introduced to the mass of serious score fans with Samantha in the early 1990's. Lover's Prayer, though, is a more serious affair, with the piano replacing the violin as the primary instrument...." **** Read the entire review.

2/19/01 - How the Grinch Stole Christmas: (James Horner) -Promotional Album- "With almost every James Horner fan on the planet crying foul over the mistreatment of his score on the commercial Interscope Records album, it was only a matter of time before a bootlegged album of Horner's How the Grinch Stole Christmas would surface. It has been a while since a fan following of a single composer agreed in such quantity that an album was inappropriate, and this should only be read as testamony to the failure of the commercial album. It's not clear if the expanded album is a promotional effort put forth by Horner after witnessing the botched commercial album or if it is just another black market bootleg. While most people in the industry consider it a promotional album, I hold my reservations. To the die-hard Horner fan, of course, it doesn't really matter. The expanded album contains over seventy minutes of score --a vast improvement over the commercial album. Unfortunately, more of this score doesn't automatically make it better...." *** Read the entire review.

2/18/01 - Dungeons and Dragons: (Justin Caine Burnett) "Whether or not you are a fan of the fantasy genre, one thing can really help bring a picture - troubled or not - to life. That thing is a grand immense musical score that defines the action and gives the film the spirit it needs. Many fantasy films have been supported by such scores, whether the movies were truly magical or a far cry from it. Given this statement, it shouldn't come across as surprising that the soundtrack to the recently released (and critically panned) Dungeons and Dragons film qualifies as such a score. Composed by newcomer Justin Caine Burnett (who, as an intern at Media Ventures, seems to have taken a strong influence from Hans Zimmer), the score to Dungeons and Dragons contains a very stirring, dramatic, and appropriately heroic theme that is present throughout the entire album. Themes define a great soundtrack, and apparently, Burnett understands it..." Read the entire donated review.

2/17/01 - Filmtracks Announces: The Cue Clue Contest! On the newly updated Filmtracks Cool Stuff page, you'll discover the first in a series of "name-the-clips" contests. All you have to do is guess one of three mysterious film score clips correctly, and you'll automatically be entered into the contest. The more clips you identify correctly, the greater your chances of winning the prize! The prizes for this and future contests are graciously provided by long-time film score label Varèse Sarabande. For this contest, you can win a copy of Varèse's newest album: Cast Away. Check out the Cool Stuff page for all the juicy details. Good luck!

2/16/01 - Africa: (Alex North) "In the late 1960's, Alex North was facing a challenge. Even with his distinct record of producing Academy recognized scores for major films, his atonal style of composing was being abandoned by a changing Hollywood. Young composers such as Jerry Goldsmith were producing similar music with a more modern edge, and North's career was beginning to spin its wheels. In 1967, he was approached about a four-hour television documentary about the history of the African continent. The show was a cross between a National Geographic expedition and an evolutionary science film. The depth of the show was impressive, though by modern standards, it is the type of television programming that is mocked by the younger, "Learning Channel" generation. Alex North's music doesn't really help the film today, because it, too, stands as a relic of that era of television scoring. After all, with the massively lush and romantic IMAX and television scores being produced for films along similar lines today, it's not hard to understand why the contrast between new and old can be quite jarring...." ** Read the entire review.

2/13/01 - The 2000 Academy Award Nominations are out! For "Best Original Score," there are five nominees: Rachel Portman for Chocolat, Tan Dun for Crouching Tiger, Hidden Dragon, Hans Zimmer and Lisa Gerrard for Gladiator, Ennio Morricone for Malena, and John Williams for The Patriot. The heavily-favored front-runner is Zimmer and Gerrard's Gladiator. Ennio Morricone, Rachel Portman, and John Williams are all favorites of the Academy, as reflected in their nominations. Tell others what you think!

2/7/01 - The Election for Best Score of 2000 is over! The final results of the Filmtracks January Theme of the Month are in. The top five winners for "Best Album Release of 2000" are Tomorrow Never Dies (expanded - Chapter III), Total Recall (expanded - Varèse Sarabande), Gladiator (original - Decca), Superman (expanded - Rhino), and Star Wars: The Phantom Menace (expanded - Sony). The top five winners for "Best Composer of 2000" are James Newton Howard, Hans Zimmer, Rachel Portman, Lisa Gerrard, and Patrick Doyle. The top five winners for "Best New Score of 2000" are Gladiator, The Legend of Bagger Vance, Dinosaur, The Patriot, and Chicken Run. What do you think about these results? Sound off at The Filmtracks ScoreBoard!

2/6/01 - The Adventures of Rocky and Bullwinkle: (Mark Mothersbaugh) "With a fond following of nostalgic fans from the original television series featuring Rocky and Bullwinkle, it was inevitable that the two would end up in a modern, live-action film. Like many other cartoons gone live-action, The Adventures of Rocky and Bullwinkle was no less a disaster. The film was an embarrassment to its talented cast, and with consistenly wretched reviews, the film spiraled out of the public light before it even got started. Consequently obscured, therefore, was the score by Mark Mothersbaugh, whose credits had previously included the recent Rugrats film, which fared a bit better at the box office. With one listen to the score for The Adventures of Rocky and Bullwinkle, it is easy to understand what went wrong with the film. Not for many years has a film score been so corny and slapstick; with a new punchline waiting for your ears every thirty seconds...." *** Read the entire review.

2/1/01 - Traffic: (Cliff Martinez) "Steven Soderbergh has a history of directing moody suspense, drama, and action films involving the law, and Cliff Martinez, the Red Hot Chili Peppers' former drummer, has been Soderbergh's regular composer for those projects. The two have combined on such films as Sex, Lies and Videotape and Out of Sight, and Martinez is accumulating a following of fans who enjoy his electronic, ambient style. Working closely with Jeff Rona, who himself is garnering attention at the moment for his writings about the scoring industry, the music for Traffic is an offshoot of the Media Ventures group of composers, the pioneers of the modern, synthesized genre of scoring. Regardless of film score fans think of the album, the general populus has greeted it warmly, with talk about award nominations and hefty sales figures. Most editorials have referred to the score as highly evocative and rich with subtle texture...." * Read the entire review.

Page created 3/16/01, updated 3/18/01. Version 2.1 (Filmtracks Publishing). Copyright © 2000-2001, Christian Clemmensen. All rights reserved. "Real Audio" logo and .ra are Copyright © 1996, Real Audio ( "Academy Awards" and the Oscar statue are ® AMPAS, 1996.