> Dogma (1999)



> Oh yeah, this was a Weinstein production which caused the film to be OOP for years due to
> Harvey and Bob being...well, Harvey and Bob.

Nicely put.

> 

Alright, enough about the movie. What’s the score like?
> Well, what if I told you this was the next and final step towards Shore
> reaching full Lord of the Rings mode?

Fascinating point to consider, and you definitely have a point when making the calculation: Looking for Richard + Dogma + The Yards = the ground is set for LotR to commence. And yes, there are many "Shore calling cards" in these previous works that will see their full bloom (English is once again not-quite on point today, my apologies) in the coming three to four years.

However...

> including the circular three-note Evil of the Ring motif (I think that’s the right name…
> been ages since I’ve read the CR linear notes or Doug Adams' tome),

Three-note Evil of the Ring...well, you made me cue up Dogma for later today, because I can't place such an instance out of memory. The "Weakness and Redemption" motif is definitely there (here and in The Cell!)...

> the opening phrase of the Fellowship theme and even a
> brief motif that would much later seemingly inform Shore’s title music for
> Rings of Power in the closing cue “A Very Relieved Deity”.

Will listen out for these as well! Cool.

> There's also some fun references to the religious epics of Miklos Rozsa
> and even Elmer Bernstein’s beloved Ondes Martenot gets a starring role
> (which I’m sure will delight Rob Taylor). 



AND ABSOLUTELY NO ONE ELSE! Sorry, Robert, but it's even in the name: Ondes Martenot!

> Be forewarned.

Use it on your enemies!

> listen to this gem. 



And in comparison to Shore's more usual endeavours like The Yards ("morose" is the perfect description here), it's a nice change into something more light-hearted.

> SCORE:
4 1/2 out of 5

Four from me.

> The Yards (2000)



> (...) as it's Neo-Classical beauty and fairly consistent tone & style should be a winner
> for more than a few here. As Clem rightfully pointed out in his review, The Yards
> feels like a slightly lesser precursor to Eastern Promises.



The melancholy that permeates the entire score is very alluring, I must admit. Or morosity, if that's even a word. The final track places a wonderful, and at the very end wonderfully dramatic, tie on the entire (short) package.

> SCORE: 4/5

Yup.

> The Score (2001)

> SCORE:
2/5

Nope. Also four. It's more rhythmically active than almost anything Shore had done up to this point, but I agree you need to be in a certain mind-set (or simply be a jazz fan) to fully appreciate it. And as with many of Shore's scores, it's very specifically tied to its movie, which is one of Shore's strengths and which was reportedly one of the reasons Peter Jackson chose him for LotR.

Good stuff, my friend! Looking forward to the future entries!

Ta & tata,
CK