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 January, 2001:

1/27/01 - The Filmtracks Links Page has finally been updated to include links to all the currently popular film score web sites. Each link is accompanied by a capsule review or summary information about the site. Review, dataabase, composer, and magazine sites include information about their nationality, their year of founding, and the name of their webmasters. Industry links include professional reference sites, radio shows, specialty purchasing stores, and record labels. Be sure to browse our links and support the other film score sites!

1/22/01 - The Voting Period for the January Theme of the Month is halfway over. The annual election allows Filmtracks fans to vote for their favorite CD release, composer, and "score as heard in a film" from the past year. Remember, you can vote once per week, so let your voice be heard! So far, the most popular albums of 2000 include re-releases of Tomorrow Never Dies and Total Recall. For best composer and best new score, Hans Zimmer, Rachel Portman, and James Newton Howard are the leaders thus far. What do you think about the results of these elections? Sound off at The Filmtracks ScoreBoard...

1/20/01 - Wonder Boys: (Christopher Young) "Damned from the very beginning, Wonder Boys was released twice by Paramount Studios in the year 2000. Despite some critical success it received at the start of the year, the film was an enormous flop at the box office and, to stir up some possible awards consideration for the film, Paramount decided to release the film to theatres a second time at the end of the year. Even with more critical acclaim the second time around, the film was a lousy attraction once again. So it has forever slipped away into obscurity. Christopher Young's music for Wonder Boys, therefore, was not only composed quite a long time before its album release, but has also fallen completely off the face of the planet as far as the public is concerned. While I don't like to see talented composers' works fall to such depths, this particular score is unfortunately not worth the trouble anyway...." * Read the entire review.

1/18/01 - Heavy Metal 2000: (Frederic Talgorn) "For the year 2000 animated adaptation of Heavy Metal, there is perhaps no better candidate than Frederic Talgorn to score the film. A veteran of producing scores for such B-sci-fi/action films as Fortress and Robotjox, Talgorn has been known by a wider audience more recently for his conducting of spectacular re-recordings of famous modern film music themes under contract by the Varese Sarabande label. For his original works, Talgorn is a talented artist at the integration of a full orchestra to create rousing soundtracks. His scores of the genre often feature loud and heroic brass-dominated themes and a substantial level of volume throughout. Like so many of his other work, too, Heavy Metal 2000 is dominated by one singular, stunning track. The same greatness exhibited in this one track is the one flaw, however, that hinders many of Talgorn's efforts...." *** Read the entire review.

1/17/00 - Dune: (Toto/Brian Eno) --Updated review-- "Well, if you aren't confused as of yet, then now it's time to let you know that a remastered edition of the 1997 Dune release has experienced a limited release. The 2001 release is edited so that the wobbles and voices are minimized to near extinction, and the overall sound quality of the whole album is improved. Only at the end of the "Prelude" track does a new distortion take place, though this is insignificant because that track has appeared without problem on both the other releases. In short, the 2001 album is what the 1997 one should have been... but even this 2001 album has its negatives. The 2001 album, of course, does not comfort those who purchased the 1997 one. Because of the constraining agreement between distributor SuperCollector and the now defunct P.E.G. Recordings, no exchanges of the faulty 1997 product can be accepted. In turn, this means that those who want the correct edit of the music have to pay for the album twice, and this is completely unacceptable. The same agreement dictated that even the errors in packaging could not be corrected, meaning that there is no way to tell from the outside packaging whether or not you are purchasing the 1997 or 2001 release. Good luck!..." *** Read the entire review.

1/15/01 - On the Beach: (Christopher Gordon) "It is very easy to overlook the made for TV movie On the Beach, scored by a not so well know composer, Christopher Gordon, with only one other major score that has been composed being Moby Dick. I have not seen the movie as of writing this review, but from reading summaries on the web and from track listings of the CD it was easy to get a strong idea of the entire film. On the Beach is a cable TV remake of the 1959 film. The story is about a war between America and China that results in world destruction because of a radioactive cloud that has been generated that's spreading across the globe destroying all life in its path. The only remaining country left is Australia, which only has two months before the cloud arrives. The focus point of both the film and Christopher Gordon's emotional score is how a few people spend the remaining days of their lives before the total end of mankind... It is a shame that this score is so underrated...." Read the entire donated review.

1/11/01 - The Insider: (Lisa Gerrard, Pieter Bourke, and Graeme Revell) "If I had to describe this album in one word, it would be eclectic. Much of it does stand alone rather well - especially the Gerrard/Bourke pieces. "Dawn of the Truth," on its own, is a soothing combination of electronics that almost sound like vocals, and "Sacrifice" is filled with more electronics and strong, deep male vocals. The only Gerrard/Bourke piece that does not stand well on its own is the first one, "Tempest" and only if you haven't seen the movie. It was used to score a car ride through the village surrounding a Middle Eastern terrorist's fortress in the film, and it is not unpleasant, but it repeats the same movement over-and-over again which can be annoying if one is not in the right mood. Revell's pieces work in the film itself, but on CD they're repetitive...." Read the entire donated review.

1/7/01 - The January Theme of the Month is the annual election of Filmtracks fans' favorite CD release, composer, and "score as heard in a film" from the past year. While John Williams, James Horner, and Jerry Goldsmith have dominated the past four annual elections at Filmtracks, the year of 2000 proved to be more diverse than those those past. The vote started January 6th, 2001, and will conclude February 6th, 2001. Check it out!. The final results from last month's "Best of the 1990's" vote are also now available. What do you think about the results of these elections? Sound off at The Filmtracks ScoreBoard...

Page created 2/12/01, updated 2/13/01. 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.