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 March, 2001:

3/29/01 - Great Composers: Georges Delerue: (Georges Delerue) "The film music community suffered an enormous loss in 1992, when Georges Delerue succumbed and left the world without its greatest contemporary French composer. In what was truly an international career, Delerue embodied the pure romantic side of film music, composing over thirty years for some of the world's most dramatic and sensuous films. Fans of Delerue's music remain intensely loyal to his expansive body of work, even nearly ten years after his death. He represented a niche in film music that still appeals to the hopeless romantics at heart. The mass of his music is optimistic, with a spirited heart and genuine caring, and always, always, including a memorable melody. He died just as a storybook would have it; before leaving the sound studio on the final day of recording Rich in Love in 1992, Delerue would be struck by a fatal stroke. He would spend his last few moments surrounded by his incredible music, and with the assistance of such compilations as this crystal clear "Great Composer" album from Varèse Sarabande, he will not be soon forgotten. To discuss the grand merits of each and every score would cause me to ramble on for pages about the greatness of each, so let me instead clarify some questions people have expressed about the recordings themselves...." **** Read the entire review.

3/25/01 - The darkhorse underdog composer wins the Academy Award! Confirming a trend of the Academy's preference for classically-influenced music, Tan Dun was awarded the best original score Oscar for Crouching Tiger, Hidden Dragon. Edging out the heavy favorite, Hans Zimmer and Lisa Gerrard's Gladiator, Dun's award marks the second straight year in which a classical composer has won this particular award. Also of note from the Oscars was the return of Jerry Goldsmith's original Academy Awards theme, written a few years ago specifically for the show, but absent from the past few telecasts. One of the highlights of the Oscars was Itzhak Perlman and Yo Yo Ma's superb duet performances of the five nominated scores, showing considerable attention for a category that has been condensed and deprioritized over the past few years. What do you think about Tan Dun winning the award? You can discuss the Academy's winners and losers at The Filmtracks ScoreBoard

3/24/01 - Fire on the Mountain/Flyers: (Basil Poledouris) "In the early 1980's, Basil Poledouris was just breaking through into the mainstream group of Hollywood composers. And yet, even with The Blue Lagoon and Conan the Barbarian --two extremely popular success stories-- under his belt at the time, much of Poledouris' music from 1980 to 1983 is largely forgotten or ignored (with the exception of Conan the Barbarian, of course). As with any composer working his way up the pay and popularity scales, not all of Poledouris' scores during this period were for lastingly popular films. Fire on the Mountain and Flyers are good examples of such works. Fire on the Mountain was a 1981 feature film rendition of the controversial book, but unfortunately, the lack of bite in the film caused it to disappear without a hint of a video release since. On the other hand, Flyers was a 1983 IMAX picture that did pretty well in the specially equipped theatres across America. Without a doubt, Flyers is the more dynamic and fascinating score of the two. Like all IMAX scores, the scope of the project is gargantuan...." *** Read the entire review.

3/18/01 - Dragonheart: A New Beginning: (Mark McKenzie) "With the original Dragonheart feature film of 1996 still popular for kids of all ages, it is no surprise that a made-for-video sequel of sorts was produced. The newer film doesn't contain the same main cast or crew of the original, but composer Mark McKenzie is a good friend and colleage of Randy Edelman. The original Dragonheart score by Edelman has sold very well on album, and McKenzie continues that success by incorporating much of Edelman's material and style into his own effort. The sequel, slowed by production delays for nearly a year, changes location from the original, now taking place in the Orient. This opportunity allowed McKenzie to adapt what material he felt necessary from the Edelman's Dragonheart score and infuse it with a touch of Far Eastern interpretation for the new setting. The resulting score is both functional and inspirational, although the ethnic influence is unfortunately only slight...." *** Read the entire review.

3/14/01 - The battle of words between Monty Norman and John Barry over the birth of the James Bond Theme has become total war. After an interview with Britain's Mojo Magazine in which Barry stated that he was the actual composer of the James Bond Theme in 1962, the previously acknowledged composer for the theme, Monty Norman, has taken legal action against the magazine's publishers. The libel case is now proceeding, with much technical-musical testimony resulting from a variety of witnesses, including the original guitar performer of the theme, Vic Flick. When Norman took the stand, the libel case got ugly. He claims that Barry is guilty of perpetuating the "myth" that he wrote the theme, and also embarassed Barry and his wife by claiming that Barry had a "pretty Scandanavian girl" at the house where the worksessions supposedly took place. Barry was set to testify in defense earlier this week, but his current fight against pneumonia delayed his appearance in court by a few days. For the most current information about this nasty legal battle, visit the The John Barry Discussion Group.

3/11/01 - Robotech: The Perfect Soundtrack Collection: (Various) "The 1980's was a great time to be a kid. As an elementary school student, I used to go over to my grandparents' house every afternoon after school to watch cartoons such as "Voltron," "The Transformers," and "G.I. Joe." I used to wake up every morning at 7:00 and watch Robotech. I was too young to fully appreciate how great the show was when it first aired in 1985, but I rediscovered the series in high school and in college. Robotech was more than a toy commercial; it was an epic, character-based, romantic space opera that spanned three generations. Even my dad thought Robotech was cool. The 85 episode series was made up of three unrelated Japanese anime series which Carl Macek obtained and combined into a saga of three parts: The Macross Saga, The Robotech Masters, and The New Generation. Musically, an entire library of score and songs was newly created for the American version of the series. As many as five different composers contributed background score and songs, but the principals were Ulpio Minucci and Arlon Ober...." Read the entire donated review.

3/10/01 - Kimberly: (Basil Poledouris) "While best known for his fantasy and adventure scores of more than ten years ago, Basil Poledouris has also, in times past, deviated from that stereotype to produce much smaller budget work for relatively unknown films. Some of these projects have shown promise of scratching at the big box office door, but Kimberly is an example of an even lighter film that Poledouris occasionally produces a score for on the side. The film passed without so much as an afterthought, but it is reminiscent of the period in Poledouris' career of the early 1990s, when he was more inclined to dabble his feet in the small scale comedy, light drama, and family genres. While Free Willy turned out to be much larger than expected, scores such as Serial Mom, It's My Party, Lassie, etc, were the staple of his work at that time. With the late 1990's a dramatically darker period for the composer, Kimberly and the recent Mickey Blue Eyes perhaps signal a return to another interlude of comedy/drama scoring in the Poledouris' career...." *** Read the entire review.

3/9/01 - You have one more week to enter the February-March Cue Clue Contest! If you haven't already done so, visit the new Filmtracks Cool Stuff page and try your luck in this month's contest. Once again, the prize for this contest is a copy of Varèse Sarabande's new album Cast Away. Check out the Cool Stuff page for all the details, and good luck!

3/1/01 - The Filmtracks March, 2001, Theme of the Month is now available. Just like every March since 1997, Filmtracks examines the nominees of the Academy of Motion Picture Arts and Sciences, makes a few predictions, and adds some perspective to the awards process. Finally, the fan's choices are added to Filmtracks' own Awards to round out a complete overview of the film music of 2000. You can discuss the Academy or Filmtracks' nominations and winners at The Filmtracks ScoreBoard.

Page created 4/6/01, updated 4/8/01. 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.