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 April, 2005:

4/30/05 - Terminal Velocity: (Joel McNeely) --All New Review-- "Ranking relatively low on the overall list of films by their intelligence level, Terminal Velocity is a rather mundane, though adequately interesting 1994 film about a normal guy who gets caught up in a Soviet spy plot and a whole lot of gold. This unsuspecting skydiving instructor (Charlie Sheen) rescues a beautiful female student (Nastassja Kinski), escapes from impossible mid-air situations, blah, blah... Audience reactions to Terminal Velocity were similar to those you'd receive for a typical straight-to-video flick or B-rate cable film. For action junkies, the film is a nice distraction in the middle of the night when insomnia and indigestion strike, and the same could be said of Joel McNeely's score. Once hailed as the successor for composing legend John Williams, McNeely has spent the better part of the last ten years providing effective, though not overwhelming scores for a series of less-than-stellar films. As with the fates of the films..." *** Read the entire review.

4/24/05 - Hide and Seek: (John Ottman) --All New Review-- "There are several films like Hide and Seek in composer John Ottman's young career... sub-par horror flicks that seem to suit the composer well, but sadly lacking in ingenuity and evaporating from the collective public memory within just a few years. For the John Polson film based on Ari Schlossberg screenplay, Ottman replaces originally assigned horror master Christopher Young, although for much of the score you wouldn't notice the difference. On the film's part, Hide and Seek was both a critical and popular failure, released just after the new year, which isn't a good sign of confidence from the studio for any horror film. In it, Robert De Niro is a psychiatrist and child star Dakota Fanning is his pre-adolescent daughter. The mother commits suicide in their apartment and the father does what nobody in his right mind should do: move the two out to a big old deserted mansion where the neighbors are a bit weird and the local sheriff has the keys to everyone's door...." *** Read the entire review.

4/19/05 - The Batman Trilogy: (Compilation) --All New Review-- "With the franchise at its financial peak in the mid-1990's, it wasn't foreseen that the fourth film would dig the grave of the franchise so thoroughly. Danny Elfman had burst onto all-time sales charts for soundtrack albums with his magnificently constructed original Batman and had provided an even darker second chapter for Batman Returns that remains a favorite of his equally minded fans. Amid disgust and protests, Elfman walked away from Batman Forever and Elliot Goldenthal's work for Demolition Man netted him the responsibility of taking the franchise's music forward. Goldenthal's adaptation of Elfman's theme, as well as his less Gothic, jazzy approach to the series suffered from the same dismissal from mainstream fans (especially with Tim Burton/Danny Elfman fans continuing their assault against Goldenthal for several years). Goldenthal's music never flew off the shelves in album form the way Elfman's music did, and by the time Batman & Robin hit the theatres..." ** Read the entire review.

4/13/05 - Hamlet (2000): (Carter Burwell) --All New Review-- "In classic Hollywood, the film versions of Shakespearean plays were often presented in their original time and location, and actor/director Kenneth Branagh is still endeavoring to do the same. But a younger generation of audiences and filmmakers has begun embracing and producing adaptations of the original Shakespeare stories in contemporary, urban settings. From Romeo & Juliet to Othello, sparkling, modern representations of these classic tales are playing to split audiences, with some adoring the new visions and others believing that Shakespeare himself is rolling in his grave. Perhaps none of the stories has been translated onto the big screen as many times as Hamlet, with several entries in the last 15 years alone. After the 1990 and 1996 versions remained somewhat true to a historical setting, the 2000 version directed by Michael Almereyda throws the story into modern-day New York, complete with the Guggenheim Museum and fax machines. If you could accept Bill Murray as Polonius..." ** Read the entire review.

4/7/05 - Men of Honor: (Mark Isham) --All New Review-- "The historically accurate story of an American Navy diver and his difficult and rebellious commanding officer, Men of Honor was a reasonably successful venture of the year 2000. The true tale is an interesting one, a glimpse into the face of adversity and discipline. With determination at heart, the story's central character overcomes enormous pressures --from the job and from cultural mores-- and becomes an acknowledged and accomplished enlisted leader in the Navy. Composer Mark Isham was best known at the time (and still is) for his light-footed scores for such pleasant projects as A River Runs Through It, Fly Away Home, and At First Sight. After providing a fan favorite score for October Sky the previous year, Isham dabbled in greater depth with the action-drama genre with Rules of Engagement. Despite the solo trumpet performances he is so well known for, Rules of Engagement was a critical and popular disappointment for Isham..." **** Read the entire review.

4/2/05 - Unlikely Heroes: (Lee Holdridge) --All New Review-- "One of the most underrated careers in composing for television and film in the digital era is that of Lee Holdridge, who, despite rarely receiving the recognition deserved for his mass of work for television, continues to produce outstanding music while under the radar. You won't have heard a Holdridge score on the big screens at your local cineplex anytime in the last several years, but you'll likely have caught a snippet of it while you're channel searching through the biographies and documentaries that many people skip over when surfing the tube. His output for television is outstanding given the usual standard of quality that he often provides for films that don't always deserve such music. Two of Holdridge's more recent television scores include 10.5, a mini in which a massive earthquake drops much of the West Coast of America into the ocean, and See Arnold Run, an intriguing bio-pic following two eras in Arnold Schwarzenegger's life. Over the past eight years, however, Holdridge has become associated with high-quality documentary and television films about the Holocaust...." **** Read the entire review.

Page created 5/9/05, updated 5/10/05. Version 2.1 (Filmtracks Publishing). Copyright © 2005, Christian Clemmensen. All rights reserved. "Real Audio" logo and .ra are Copyright © 1996, Real Audio ( "Academy Awards" and the Oscar statue are ® AMPAS, 1996.