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. . 1. Gladiator
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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 November, 2001:

11/17/01 - The Mummy Returns: (Alan Silvestri) "I really love Goldsmith's score from the original. It not only contained exciting Egyptian action cues, but three great themes (the best being the Jarre-esque romantic theme), and although Goldsmith himself despised it, the film was pretty good too (and I'm a sucker for Rachel Weisz). The sequel film didn't fair as well, but it still managed to provide nonstop action and a few laughs for it's two hour running time. Alan Silvestri's score, though, rises above the film in almost every respect. It has a feeling of non-stop energy, excitement and fun which permeates throughout all the music. This is action swashbuckling music at its best. There are many themes utilized throughout the score, the primary ones being: Rick's Theme, the Rick/Evy love/adventure theme and the Imhotep/Anck-su-namun love theme. Rick's Theme is heard often and has a really fun, heroic feel to it and is just as good, if not better than Goldsmith's equivalent theme...." Read the entire donated review.

11/16/01 - Hook: (John Williams) "I've owned Hook for about ten years, and it still continues to stun me with every listen. It grows rich like a fine wine; its brilliance is inherent, steadfast, and more evident with each listen. Its thematic richness is colossal. Its command of orchestral texture is wondrous. Many music fans have enjoyed this score enormously as a masterpiece that they'll treasure for the rest of their lives. Yet, this gift to the music world from John Williams is one that many have yet to experience. And that's a tragedy. There are countless emotions displayed here: adventure, wonder, discovery, regret, sadness, and so on. As is usual with a Williams score, the music grabs the suggested emotions from the film and projects them into the auditory world. It doesn't just compliment the emotions; it reveals and magnifies them. But that's just the beginning of Williams' work, for here he has written a vast number of themes (almost twenty themes and motifs altogether; some not heard on the commercial album). Every new situation of discovery seems to have a new theme, and some are just heard once and then gone forever...." Read the entire donated review.

11/12/01 - Star Trek: Insurrection: (Jerry Goldsmith) --Expanded/Complete Album-- "It's been three full years since Star Trek: Insurrection hit the theatres, and the long delay before the production of Star Trek X is proving that this could be the longest gap between any of the Trek films. If anything, this extended time, along with the end of both Star Trek: Deep Space Nine and Star Trek: Voyager on television, has given fans of the 24th Century Trek franchises more time to reflect on Goldsmith's Star Trek: Insurrection score. Whereas the music for Star Trek: First Contact hit the fans at breakneck speed, immediately exploding in popularity, the music for Star Trek: Insurrection took longer to endear itself to the same audience. However, as the years have shown, a growing respect has evolved for Insurrection. Both the last two feature film score albums from GNP Crescendo, although making a strong presentation of both scores, have lacked a few key cues from the films...." **** Read the entire review.

11/11/01 - Marie Ward: (Elmer Bernstein) "One of the truly forgotten films of the 1980's is this tale about Marie Ward, the real life teacher who rebelled against her 17th Century role and established religious schools around Europe for the education of girls. While that story line may not catch your attention today, there are two elements in the film Marie Ward that do warrant a second look. First, the diverse and impressive settings of the film's shooting are not to be ignored; the locations include some of the most holy locations in Europe, as well as some areas that were demolished after the production of the film. The second aspect of Marie Ward that will always come to mind is Elmer Bernstein's superior score for the film. Its director and screenwriter, Angelika Weber, insisted so strongly that the venerable Elmer Bernstein compose the score for the film that she flew to Los Angeles to make a personal pitch for the project (and in the process, showing a kind of Marie Ward-like personality trait in doing so)...." **** Read the entire review.

11/10/01 - Project X: (James Horner) "Horner was about to hit his stride in 1987, with several high profiles scores already under his belt and his most popular of his early career to emerge in the following two years. The film Project X was a production that Horner would not turn down, for it would be yet another opportunity to spread his wings in the use of non-traditional instrumentation. It was an odd film in many respects, for although it had all the makings of a family film (with Broderick, Hunt, and a bunch of monkeys), but it also contained a strong and dark political message that could easily frighten children. For an average adult, it may seem just a tad too childish to catch and hold your attention, and for the average kid, it had too many scary scenes of nuclear radiation and death to satisfy their needs. Thus, you get Project X, a film that could be mildly interesting at the late night hour on a lonely night. What would make it an even more attractive movie to see for film music enthusiasts is the complex score offered by James Horner...." *** Read the entire review.

11/9/01 - Heartbeeps: (John Williams) "When a film music collector, or an average movie-goer, thinks about John Williams soundtracks of the early 1980's, Heartbeeps isn't exactly what comes to mind. But as is the case with every established composer, a successful collaboration with a director or producer for a major film will often lead to a subsequent collaboration on a smaller, more personal project. Such was the case with Heartbeeps. Williams had worked with the producer, Michael Phillips, on Close Encounters of a Third Kind, and when this new, lighthearted Phillips comedy was being assembled in 1981, Williams accepted the scoring job. It was perhaps awkward for such a score to be written and recorded from the maestro in between The Empire Strikes Back and Raiders of the Lost Ark. For the reason of a lack of interest from a distracted populus of fans, Heartbeeps was never released onto the digital medium until long after all of Williams' other post-Star Wars era scores had been released on CD. With the resurrection of the once popular Varèse Sarabande CD Club, the score is finally pressed onto CD as the new series of limited CDs took flight in late 2001...." ** Read the entire review.

11/3/01 - Enemy at the Gates: (James Horner) "Now I don't consider myself a huge James Horner fan, but when I consider that over 1/3 of my soundtrack collection at the moment is done by Horner, well, maybe I am misjudging things... In any case, his latest effort for the WW2 drama, Enemy at the Gates, is a good one, although probably lacking in a touch of originality. This, of course, is not new for Horner, as there are countless people willing to rip apart everyone of his scores for his self-plagiarism. Unfortunately, many will see a John Williams influence here as well, as the main romantic theme for Enemy at the Gates bears a reasonable resemblance to the main theme for Schindler's List. Having said that, I didn't even notice the similarities until I read it somewhere, and I don't think it is that big an issue (and, yes, I am very familiar with the Williams score)...." Read the entire donated review.

Page created 12/29/01, updated 1/12/02. Version 2.1 (Filmtracks Publishing). Copyright © 2001-2002, Christian Clemmensen. All rights reserved. "Real Audio" logo and .ra are Copyright © 1996, Real Audio ( "Academy Awards" and the Oscar statue are ® AMPAS, 1996.