> This is part of a series. The third post for 2011-12 is here -
> https://www.filmtracks.com/scoreboard/forum.cgi?read=113090

> -----------------------

> Prometheus (2012) - ***½

A fun and interesting score, but I think your rating is about right. When I relisten, I need to pay attention to when HGW is up, that may color my positive opinion!

> Madagascar 3: Europe’s Most Wanted (2012) - ****

You know, it really is works like this and TDKR that makes me sympathize with Clemmensen's statement that the front-cover "music by" credit should recognize the add'l music people, at least in situations like this. Zimmer is credited solely, but was barely involved; Balfe supervised and large swaths of the film were scored by people working mostly alone (not in direct collaboration with the credited composer). Not saying that's bad -- this is some seriously fun music -- but it definitely bears Clemmensen's argument that the front-cover credit misleads about who was responsible for what's in the album.

> The Dark Knight Rises (2012) - **½

Ah, nostalgia. Another early music foray for me, and one of my earliest Zimmer listens. I do have a fondness for this, but my esteem precipitously dropped when I realized how warmed-over a lot of it is! The action tracks have some RC rompin' fun, but the elegant human touch JNH brought is sorely missed. The brightest spot of the score, for me, is ironically not on the album, but the "Aurora" track that Zimmer wrote to benefit the Aurora, Colorado shooting victims.

> Steve Mazzaro would give some great insight earlier this year about what a
> sequencer programming credit typically means, at least on a Nolan film.
> “The music editor would take suites in stem form, like a piano separate
> from brass, and basically score the film. What [they] cut together doesn’t
> exist anywhere other than [their] computer. It’s my job to figure out ‘ok,
> where did he pull this from, did he pitch shift or time change anything?’
> and make that in MIDI, along with additional writing, so people can play
> the notes.”

Interesting. I refer to my prior comment!

> Ice Age: Continental Drift (2012) - ***½

I would give this a full four stars, because while it has some elements returning, those are largely cranked up to an insane energy. That final triumphant herd theme statement is stunning! The "Ode to Joy" running gag also had me and my Beethoven-loving father rolling on the floor! Irreverent creativity like that is the Powell difference.

> Abraham Lincoln: Vampire Hunter (2012) - **½

I don't know if I've heard this, but I almost wonder if I have, even if I haven't (seems to be the theme of this time period).

> Total Recall (2012) - **½

On my to-listen, as is the original Goldsmith, which I haven't heard.

> Red Dawn (2012) - **½

Poledouris' score may not have been his best, but it runs circles around this. Djawadi has some fun action beats and a few generic moments of nobility, but for the most part it defines the era's lackluster action tendencies.

> Skylanders: Giants (2012) - ***

Nothing to add, just that I need to listen to some music from this franchise.

> Assassin’s Creed III (2012) - **½
> That said, authentic 18th Century music would’ve been boring.”

Wat? C'mon, you're more creative than that (Austin Wintory would make that statement scoff-worthy four years later with Syndicate).

The turn the series' music took at this point is perplexing and disappointing. Kyd's scores weren't exactly period-accurate, but they had verve and style (Venice Rooftops kicks the hell out of anything from Balfe's offerings), as opposed to the RC sound of the day. Fortunately, the series would get better shortly. (That said, Winifred Philips and Elitsa Alexandrova would serve up fun handheld game scores a couple years later that worked well within the RC sound).

> Wreck-It Ralph (2012) - ****

Yup to all this! Jackman is a two-sided composer; his live-action scores for non-Vaughn scores tend to be dull and unimpressive (can't wait to see if you tackle the fuckfest that was Captain Philips), yet his animation scores just come alive with verve and pomp. In fact, I'd raise this to a four-and-a-half star rating myself! This was another early fave of mine, as I was really getting into the genre. The film, along with Rise of the Guardians, Tangled and HTTYD, really got me back into animation as a teen, and I love animated works to this day!

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Given that you're doing this all for free at a massive time investment, I'd say you can take a break whenever you want! I love this series! Take care!