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, 2002:

1/26/02 - In the Bedroom: (Thomas Newman) "In the early years of his career, Thomas Newman created a lengthy resume of small budget projects, for which he gained the recognition necessary for him to assume the lifestyle of Alfred Newman. He then, however, gained his largest following by creating large scale orchestral scores for mainstream films, catapulting him into several Academy Award nominations. But then, at the turn of the century, though still landing blockbuster scoring assignments, Newman made a sudden and enormously contrasting change of style, returning to a minimalistic, small ensemble approach to his big name projects. With American Beauty and Erin Brockovich shedding every resemblence of the scoring technique he had employed at the popular height of his 1990's career, Newman acquired an entirely new fans base. The definition of exactly what this "minimalism" is has been fiercely debated, with some referring to it as "modernism" and others as the "less-is-more" approach...." * Read the entire review.

1/21/02 - Gosford Park: (Patrick Doyle) "When one thinks about a Robert Altman film, the original score isn't the first thing that comes to mind. His character rich dramas often receive their acclaim for their outstanding direction, screenwriting, and acting. The intensely intimate manner by which Altman typically concentrates on the story and its characters rather than anything more flashy can cause the scores for his films to fade away into obscurity. In many cases, his films don't even need a score. This wasn't the case, however, with Gosford Park, which was a musical-like diversion for Altman. The film follows the same kind of theatrical stage-like bubble of action, with the murderous who-done-it story played out in the lavish confines of a mansion in a century past. The characters are musically inclined, breaking out into song in several parts of the film. The period and decadent style of the setting necessitates a score to accompany the songs, and for the project, Altman looked no further than Patrick Doyle...." *** Read the entire review.

1/12/02 - The Black Stallion/The Black Stallion Returns: (Coppola/Walker, Georges Delerue) "The films based on The Black Stallion fantasy story were a fixture of the early 1980's, offering children's films about the human/nature relationship that had been short in quantity until that time. While the first film retains the most attention for its more classic storyline, the second film was noted for its remarkable score. Both films were produced by Francis Ford Coppola, and it was because of this connection that Coppola's father, Carmine Coppola, ended up with the assignment to score the first film. To say that the scoring process of The Black Stallion was a mess is generously worded. The film was originally to be scored by William Russo, but immediate disagreements with first-time director Carroll Ballard about the musical approach caused the composer to walk away without writing a note. Working with Carmine Coppola yielded a decent score, though Ballard was set to cut it to pieces and demand re-writes of that material. Luckily, for The Black Stallion Returns, director Robert Dalva and veteran French composer Georges Delerue hit it off immediately...." **** Read the entire review.

1/11/02 - Beauty and the Beast: (Alan Menken) --Special Edition-- "Even though the original album came back into print late in the 1990's, the most highly acclaimed animated song and score combination of recent times remained incomplete on CD. Disney wasn't best known for pressing exemplary albums for its films in the 1990's, a practice that has changed ten years later. There wasn't an enormous mass of music from Beauty and the Beast missing from the commercial album, though there was just enough of it to cause die-hard fans --and there are a LOT of them in this case-- to scrounge around on Disney box compilations and the likes for extra material. Many even took solace in the Broadway recording, and an interesting debate about which Belle (Paige O'Hara or Susan Egan) was better for the part. It was common knowledge that a few score cues and at least a few songs were rejected from the final cut of the film, and none of that material was previously available on CD...." *** Read the entire review.

1/8/02 - Godzilla: (David Arnold) --Promotional/Bootleg-- "The Dean Devlin and Roland Emmerich hit parade was in full force by 1998, with the filmmakers riding the fiscal and popular success from Independence Day and Stargate in the years prior. The first large-scale Americanized version of the Godzilla tale sent the giant lizard to New York City in what was supposed to be another Independence Day sized extravaganza on the big screen. The hype for the film was based on the motto "Size Does Matter," though in the end it turned out that the size of budgets matter as well. The film did well at the box office at first, but fizzling popular demand for the traditionally Japanese franchise caused the film to lose audiences' interest long before the prior two collaborations had. A terrible plot and extremely harsh ciritcal response to the film put a dent in Devlin and Emmerich's action film careers, and would be noted by film music fans as the end --at least for a while-- of the working relationship between the two filmmakers and their friend and composer David Arnold...." **** Read the entire review.

1/5/02 - 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 dominated the first four annual elections at Filmtracks from 1996-1999, 2000's strong showing by James Newton Howard, Hans Zimmer, and Rachel Portman shook up the mix. The year 2001 adds even more new contenders to the old favorites of past years. The new 2001 vote started January 5th, 2002, and will conclude February 20th, 2002. Check it out!. New software has been added to this year's voting booth to further weed out multiple-vote offenders, making this one of the more accurate tests of public film music opinion online. What do you think about the results of these elections from this year and years past? Sound off at The Filmtracks ScoreBoard...

1/4/02 - Domestic Disturbance: (Mark Mancina) "Earlier in 2001, the film Domestic Disturbance was mentioned as being one of the larger autumn releases from Hollywood. It was to be a film of an intriguing suspenseful plot that would carry it to deep riches at the box office. Unfortunately for the film, it was released just before a Muggle-treasured film about a little school named Hogwarts, and Domestic Disturbance thus disappeared off the charts after only one week of theatrical success. With Travolta the boatmaker as the center of attention, Domestic Disturbance is the typical "your ex-wife marries a wealthy creep, your troubled kid knows the guy is a murderer, but nobody believes the brat until everything gets really suspenseful" kind of flick. After some confusion as to who would score the film, contemporary artist Mark Mancina provided a functional score for the film. It was one of those projects that fit a very familiar scoring formula for whomever would end up composing for the story, and Mancina did a decent job in producing more than what was expected...." *** Read the entire review.

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