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/February, 2003:

2/24/03 - 8 Femmes (8 Women): (Krishna Levy) "One of the most creative films to come out of any country in recent years, Fran?ois Ozon's international hit 8 Femmes is a large-scale comedic parody of murder mysteries and musical productions from yesteryear. It's the French story of eight oddly matched women who get stuck in the mansion of a murdered man. Through their outwitting of each other, they pursue the mystery and attempt to stay out of each other's suspicions. The fact that the film is an utterly ridiculous musical is what gives it its comedy and undeniable charm. Each of the eight women performs her own song, which is no small event given that the eight actresses are well known in France and aren't scene in such roles everyday. The songs are all interpretations of famous songs from the 1960's through 1980's (along the lines of what Baz Luhrmann did with Moulin Rouge, but done with a playful tongue in cheek attitude). Likewise, the orchestral score by Krishna Levy is a parody of sorts of the classic romance and suspense scores of Miklós Rózsa and Bernard Herrmann (respectively). The overall result is a delightful listen...." **** Read the entire review.

2/23/03 - Adaptation: (Carter Burwell) "The team of director, screenwriter, and composer that brought you Being John Malkovich is back for a creative encore. The story of Adaptation is one of evolution, life, frustration, and the great unknown, and its primary character is a sexually inadequate and mentally troubled screenwriter who is having a nightmare of a time adapting a novel into a screenplay for a movie. The audience is treated to this man's problems with a blunt slap across the head, and Carter Burwell's score emulates that feeling perfectly. As Burwell states, it is difficult to write a score about nothing in particular, and more specifically, a film about not knowing if there is anything to know. He went ahead and had to score the film as though he personally knew what both the film and the meaning of life are all about, and the resulting collection of inharmonic clangs and suffering mutilations of overlapping themes makes for a ear-wrenching musical experience both in the film and alone on album. Burwell's sense of humor about the project is perhaps the most intriguing element of the entire project, for the music itself could easily drive a person --or animal, for that matter-- insane...." * Read the entire review.

2/16/03 - Ararat: (Mychael Danna) "The collaboration between Mychael Danna and director Atom Egoyan is well into its second decade, with Danna continuing to produce a unique sound when compared to his contemporary peers. The film Ararat is the tale of the persecution of the Armenian people in 1915. It is a grim, but defiant showing which, necessarily, is heavy on the religious history of the event. Danna therefore produces a score rich with human emotion and simplisticity in its existence. Much of the music for the film was recorded on location by Danna in Armenia. While the orchestral portions, including the massive performances of theme in a selection of tracks, were recorded in London, the choral voices and many traditional instruments were performed by native musicians on location (with a few instruments added in Canada at a later date as well). The daunting task for the recording of Ararat, therefore, was the piecing together of all these elements into the impressive finished product as heard in the film and on album...." **** Read the entire review.

2/14/03 - Narc: (Cliff Martinez) "The career of Cliff Martinez has begun to grow a consistent following with listeners around the world. His ambient electronic score for Traffic was well recognized for its role in the film and his more orchestrally inclined work for Solaris is a popular item on album despite the film's short-lived fame. For Narc, Martinez returns to the Traffic end of that scale, abandoning the orchestra and delving once again into the drifting, sparse realm of his solitary electronics. At its most powerful, the music for Narc offers drum loops and electronically altered guitar sounds that, at least momentarily, break the monotony of the mass of Martinez's underscore. The majority of its forty-minute playing time, however, is occupied by subtle and sometimes nearly indistinguishable background chords of his keyboards. It is not atypical for a Martinez score of this nature to feature less than ten notes in any two-minute period of time...." * Read the entire review.

2/11/03 - The nominees for the 75th Annual Academy Awards for "Best Original Score" include many names you will recognize: Elmer Bernstein for Far from Heaven, Philip Glass for The Hours, Elliot Goldenthal for Frida, Thomas Newman for Road to Perdition, and John Williams for Catch Me If You Can. This is the 14th Oscar nomination for Elmer Bernstein, who is the industry's favorite to take home the statue. He will face realistic competition from only Goldenthal and Glass for the award, likely determined by the result of the "Best Picture" category. The only considerable omission this year is a weighty one; Howard Shore's The Lord of the Rings: The Two Towers has been considered by most film music critics to be among the three best scores of the year, and its absense from the nominees makes the entire list problematic. The nominees for "Best Song" are better rounded, with a thankful and predictable absense of Madonna's Die Another Day the only headline to be found there. View all the nominees and talk about them at the Filmtracks ScoreBoard.

2/7/03 - The Swarm: (Jerry Goldsmith) "The film The Swarm ushered in the end of director and producer Irwin Allen's fantastic voyage through the ranks of Hollywood's disaster film renaissance in the 1970's. Unlike the previous hits of The Poseidon Adventure and The Towering Inferno, audiences and critics gave a resounding sigh of impatience with the genre by the time The Swarm hit theatres in 1978 (despite a similarly loaded cast of actors). Plots were getting more bizarre and the special effects weren't holding up in the Star Wars/Close Encounters generation. Allen's career would fizzle from that point on, but the composer of music for The Swarm was red hot at the time and would only get better. Jerry Goldsmith was already a composer considered at his height in the late 1970's, fresh off of his Academy Award win for The Omen. He took over a genre that had been marked with memorable scores by John Williams, including The Towering Inferno, which is still considered by the majority of critics today to be the best disaster score of the 1970's. Goldsmith rose to the challenge in scoring The Swarm and produced what was one of the few bright spots for the entire production...." **** Read the entire review.

2/6/03 - Filmtracks has nearly finished its new structure and design for all album reviews at the site. These changes are the result of years of feedback from Filmtracks visitors (you guys!) regarding readability, length, and quantity of reviews. On average, new reviews will be shorter and will include a new feature called "Filmtracks Recommends," which will be a quick pro and con summary of the review. By reducing the size of each new review by a few hundred words, we can feature more reviews for more titles. Ten new reviews from January have been held up for the accompanying redesign of those reviews, but that redesign target date has been pushed back to February 14th. So, to keep you up to date on new albums, those ten reviews will be published in the current (1999-2002) review format while we tidy up the redesign. When the redesign is finished, each review will have a "print version" for those of you who have, over the years, asked for an easily printable format for Filmtracks content. Comment areas will be condensed and moved to the bottom of their pages so that loading time for the main review content is improved. Thanks once again to everyone who has contributed to this ongoing PHP project... It's been four years since the last overhaul of Filmtracks' review format, so it's about time!

Page created 3/17/03, updated 3/19/03. Version 2.1 (Filmtracks Publishing). Copyright © 2002-2003, Christian Clemmensen. All rights reserved. "Real Audio" logo and .ra are Copyright © 1996, Real Audio ( "Academy Awards" and the Oscar statue are ® AMPAS, 1996.