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Top 200 Scores of the Century - #95 - 81

Riley KZ
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Philipp
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Top 200 Scores of the Century - #95 - 81   Friday, May 27, 2022 (8:30 a.m.) 

And here we go with more of this stuff cause it's Friday dammit, let's celebrate with UNDERRATED MUSIC RILEY DOTH DECLAIM

--------

#95 - The Way Back by Rob Simonsen

My #1 pick of 2020 that probably got more than one raised eyebrow. I still maintain it’s a gorgeous, heart-breaking chamber score with a fantastic monothematic core, usually played on solo piano’s or backed up with clapping percussion. None of which could have been great, true, but it works wonders in the film, is a great relaxing album listen, and a surprisingly honest musical representation of alcoholism. For all the (misguided in my opinion) praise he got for Ghostbusters, I really hope someday this finds the acclaim it should have got.

Best Cue: https://www.youtube.com/watch?v=dO0ydMf-lMs&list=PLBKadB95sF45EIvMGIN0P7DjxnLlVy-E4&index=2

#94 - Changing Lanes by David Arnold

If I ever met Mr. Arnold, I’d love to tell him the first and still my favorite score of his I bought was Changing Lanes, and watch his reaction. He’d probably call me a wanker and walk away. But I’m being genuine – I love this score as much as I love the movie, and that’s a lot (hell, I literally just rewatched it again two nights ago). Critics at the time RAVAGED it, calling it electronic murky muck. And yes, it’s almost completely synthetic music. Yet in a scratchy, chaotic, mesmerizing way that sounds extremely different than the other droning crap it gets clumped in with. Plus, it repeatedly utilizes two different motif’s; one hectic, one melancholy, so it’s not just a bunch of electronic noise. Super underrated score.

Best Cue: https://www.youtube.com/watch?v=RGflrHmzNvo

#93 - The Star Wars Disney Trilogy by John Williams

Totally cheating by combining all of these suckers (and it’s gonna happen more often soon), yet I think this is one that won’t get many complaints, because really….how DOES one rank these three scores differently? Force Awakens introduced us to a whole bunch of awesome new themes (yes, even Rey’s theme, I’ve changed my tune since 2015), Last Jedi elaborated and was even more epic, and then Rise of Skywalker mixed all that with a shitload of nostalgic returns to old Star Wars music. Movies range from mediocre to absolute dumpster fires but the music made it all worth it, and if I had to pick a favourite…I don’t think I could. Like em all equally.

Best Cue from FA: https://www.youtube.com/watch?v=65As1V0vQDM&list=PLUU0SWK_OL9Rzldg8NwSHJDa0xy1f0xuV&index=6

Best Cue from LJ: https://www.youtube.com/watch?v=YIIvAoHIsPQ&list=PL1IbDEw68S5MOfe-CrPpx0TP0xlCCYHnQ&index=16

Best Cue from RS: https://www.youtube.com/watch?v=kIr-3GYLZMM&list=PLohYzz4btpaRp8QSC2e9gzyZ1hd7byj_X&index=15

#92 - The 25th Hour by Terence Blanchard

Blanchard has done a lot of scores in the past couple decades, most of which aren’t exactly my favourite stuff to listen to (except BlackKklansman and Da 5 Bloods, which grow on me with each listen). But hoooo boy, is The 25th Hour a winner, his career pinnacle by far for me. Opening with a powerhouse of a cue, the score ranges from melodic jazziness to tragic, melancholy underscore to overwhelming melodrama. Its one of those albums I keep telling people they gotta check out, and all too frequently I keep getting ignored. Stop that! Go listen to it!

Best Cue: https://www.youtube.com/watch?v=Eg-uAqdRCD0&list=OLAK5uy_mJM8VhOV4qS-PPTpZsF274zw9WCD-WXkg

#91 - The Departed by Howard Shore

One of my favourite movies for being so goddamned entertaining, The Departed is also my favourite non-LOTR Shore score. First reason – making half the score a guitar-infused tango, for a fuckin’ Scorsese crime thriller of all things? Brilliant. Second reason – the cue below, which I’ve listened to probably 800 times since 2006. The suspense material, which is more electric-guitar underscore in the vein of some of his Cronenberg works, isn’t as interesting, although it remains effective. And anytime The Departed picks up a guitar, its solid gold.

Best Cue: https://www.youtube.com/watch?v=NOdjPZOkkdE&list=OLAK5uy_mU-M_Mrgmg1DLX_sSefj7KRn2uk2xA48M

#90 - Minority Report by John Williams

What happens when you get Bernard Herrmann to score Blade Runner? Minority Report, that’s what. Maybe because of the darker, more obtuse nature of the score, it never received the acclaim that 98% other John Williams scores get (especially ones tied to Spielberg). And I just don’t understand. He nails the mystery, the foreign futuristic aspect of the Pre-Cog’s, the creepy stuff, the noir throwbacks, and the action material (Anderton’s Great Escape is, for my money, JW’s very best action cue. Yes, better than Battle on Hoth). A tougher score than usual from him, but at least in my books, one of his best.

Best Cue: https://www.youtube.com/watch?v=Qm1ZVZcy97Y

#89 - Real Steel by Danny Elfman

One of the rare times in the 2010’s where I felt Elfman not only delivered a masterpiece worthy of comparison with his 80’s and 90’s faves, but also one that frankly didn’t sound like any other Elfman score. For a relatively simple and silly movie, the music is just phenomenal, happily mixing gentle acoustics with light rock sensibilities and, in the final two cues, uplifting and goosebump-inducing music the likes of which don’t happen nearly often enough.

Best Cue: https://www.youtube.com/watch?v=YXOVqGr9VhI

#88 - Eragon by Patrick Doyle

Like most of Doyle’s scores for some odd reason, I shrugged and rapidly moved on after my first listen of Eragon, only to return to it years later and go “Holy shitballs this is good!” A rousing fantasy/adventure score that hits all the right notes (nyuk nyuk) and does it in a tight, concise album. Haven’t seen the flick so not sure if there’s some major music missing, but I love the CD the way it is, and goddamn, that THEME, that awesome and memorable main theme. So good.

Best Cue: https://www.youtube.com/watch?v=u6qPMjVrtuM

#87 - Departures by Joe Hisaishi

So this might be a weird opinion, but I think Hisaishi’s best score isn’t for a Miyazaki flick – its for this live action drama about a cellist playing music for funerals. As expected from the plot description, the cello is the hero here, and man does Hisaishi wring every ounce of beauty from that instrument. The primary theme, heard frequently both on cello, violins, and piano, is the composer’s very best. An incredibly touching and moving score.

Best Cue: https://www.youtube.com/watch?v=72UHlQ4TyHA&list=PLF3B3DF9A1FE6A64D

#86 - The Incredible Hulk by Craig Armstrong

Frick sakes, WHY DOESN’T THIS GUY SCORE MORE ACTION FLICKS??? Incredible Hulk seemed like such an odd project for the dramatic Scot, yet he blew me away with the work, particularly the action cues; Favela Chase is one of the strongest non-Bourne chase scene cues I’ve ever heard. He also wound up using a sound that became verrrrrrry (too) familiar after Inception, the “horn of doom”, but the way he works it into the Hulk theme and persona is exceptional. Probably my fave MCU score.

Best Cue: https://www.youtube.com/watch?v=hjh9B_hTNpE

#85 - Brokeback Mountain by Gustavo Santaolalla

Hahahaha yes, yes, absolutely yes. Y’all can eat it, cause this score actually DID deserve it’s Oscar (I won’t get into the Babel travesty though). WIthin context, it’s a perfect accompaniment to the story and embodiment of forbidden, ruined love (Ang Lee played parts of it on set to get the actors in the mood). But out of context…I still love it. People bitched about it being under 15 minutes; well, it’s not, and the 30 min bootleg has some gorgeous highlights (like Horse Love) that were missing from the commercial album. I honestly don’t know how anyone can listen to The Wings, either separate or within the flick, and not get all misty. Sorry, folks – you missed the boat with this one. Go relisten and remedy this problem immediately.

Best Cue: https://www.youtube.com/watch?v=wOdogMyDt-s

#84 - Van Helsing by Alan Silvestri

What a gloriously, unabashedly awesome score this is; perfect, really, for a gloriously, unabashedly silly movie. A monster mash-up from the guy that made The Mummy, Van Helsing never takes itself too seriously, whereas Silvestri created this bombastic, epic work that could play in any major action/horror spectacle. For all the awesome stuff to unpack here, the very best is the use of a fast-paced guitar (at least I think it’s a guitar) in tracks like the one below.

Best Cue: https://www.youtube.com/watch?v=rVbBMRT84cs

#83 - Spider-Man 1 and 2 by Danny Elfman, Amazing Spider-Man by James Horner, and Amazing Spider-Man 2 by Hans Zimmer

Yeah…this is the biggest bag of cheating someone writing up a list could possibly conjure up. Especially since I’m not just saying “all the Spidey’s”, because I personally think Chris Young’s SM3 is overrated, and I don’t particularly care for Giacchino’s MCU ones (and the less said about Pemberton’s Spider-Verse, the better). But I can’t decide which of these I like more, enjoying them all pretty equally. In terms of intelligence and deflty mixing swinging heroics with surprising emotion, Elfman’s Spidey 2 and Horner’s works are the best. But the first Spidey gave us all these great themes, and Zimmer’s outing continually grows on me – it’s ridiculous (like the Electro dub-step stuff), but that’s half the fun. Taken together, these four superhero scores represent some of the best music the genre has ever offered.

Best Cue from SM: https://www.youtube.com/watch?v=6qcJS_e2_hY

Best Cue from SM2: https://www.youtube.com/watch?v=fVkN8riiqRM

Best Cue from AMS: https://www.youtube.com/watch?v=0ymXXOYL6Sc

Best Cue from AMS2: https://www.youtube.com/watch?v=9C3yyA5DuKk

#82 - Gone In 60 Seconds by Trevor Rabin

He’s baaaaack. This was one of my first “download a score illegally from Kazaa cause I can’t find it anywhere and keep getting outbid on eBay” experiences (and for you modern day kiddos – each track took about a week to download. We used to work hard for our piracy). Loved it then, love it even more now; it’s not just industrial techno-noise like some critics complained at the time (you’re still wrong Jon!!!). It’s entertaining and actually quite clever in its stupidity, and I especially love the use of wordless female vocals mixed in with the action. Very short album (not even 30 mins long) so it ain’t gonna eat up a bunch of your time.

Best Cue: https://www.youtube.com/watch?v=k9QyrnDq1lA

#81 - Carol by Carter Burwell

This is one that has improved so much with every passing listen since it first came out. I heard it out of context first, thought it was pretty, but nothing special. Then I saw the flick, and then saw it again, and realized Burwell absolutely NAILED the mournful feeling of romantic regret, of a love that could have been but sadly couldn’t continue. The melodies here are enchanting and I don’t think Burwell ever used pianos in a better, more moving way. Not an uplifting or jovial listen by any means, but definitely my favourite work from the guy.

Best Cue: https://www.youtube.com/watch?v=f58FWDb1ARw

---------

Coming up: More Rabin, more Horner's, finally a Goldsmith, a Spanish TV score, and several that absolutely no one talks about which really bums me out.



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Philipp
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Riley KZ
Re: Top 200 Scores of the Century - #95 - 81   Friday, May 27, 2022 (10:07 a.m.) 

Haven't watched the movie nor heard the score, but since years I've intended to do both. cool

> #94 - Changing Lanes by David Arnold

Very cool movie! That's all I can say.

> #92 - The 25th Hour by Terence Blanchard

Agreed, great score and movie.

> #91 - The Departed by Howard Shore

Again, great score and movie. Probably my John Williams Top 3.

> #90 - Minority Report by John Williams

Somewhere I've made some notes about how great this score is; haven't heard it in quite a while, definitely *****

> #88 - Eragon by Patrick Doyle

> Like most of Doyle’s scores for some odd reason, I shrugged and rapidly
> moved on after my first listen of Eragon, only to return to it years later
> and go “Holy shitballs this is good!” A rousing fantasy/adventure score
> that hits all the right notes (nyuk nyuk) and does it in a tight, concise
> album. Haven’t seen the flick so not sure if there’s some major music
> missing, but I love the CD the way it is, and goddamn, that THEME, that
> awesome and memorable main theme. So good.

> Best Cue: https://www.youtube.com/watch?v=u6qPMjVrtuM

Very unusual stuff by Armstrong, but cool.

> #86 - The Incredible Hulk by Craig Armstrong

> Frick sakes, WHY DOESN’T THIS GUY SCORE MORE ACTION FLICKS??? Incredible
> Hulk seemed like such an odd project for the dramatic Scot, yet he blew me
> away with the work, particularly the action cues; Favela Chase is one of
> the strongest non-Bourne chase scene cues I’ve ever heard. He also wound
> up using a sound that became verrrrrrry (too) familiar after Inception,
> the “horn of doom”, but the way he works it into the Hulk theme and
> persona is exceptional. Probably my fave MCU score.

> Best Cue: https://www.youtube.com/watch?v=hjh9B_hTNpE

This is probably the only score I have listened to in 2006. Also wanted to play some songs myself on the guitar but unfortunately gave up; maybe I will come back to it.

> #85 - Brokeback Mountain by Gustavo Santaolalla



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Riley KZ
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Philipp
Re: Top 200 Scores of the Century - #95 - 81   Friday, May 27, 2022 (11:04 a.m.) 

> Haven't watched the movie nor heard the score, but since years I've
> intended to do both. cool

> Very cool movie! That's all I can say.

> Agreed, great score and movie.

> Again, great score and movie. Probably my John Williams Top 3.

> Somewhere I've made some notes about how great this score is; haven't
> heard it in quite a while, definitely *****

> Very unusual stuff by Armstrong, but cool.

> This is probably the only score I have listened to in 2006. Also wanted to
> play some songs myself on the guitar but unfortunately gave up; maybe I
> will come back to it.

Man I wish I played guitar, primarily so I could play The Wings haha. Then again, I did get a Ronroco thinking I could maybe someday play Santaolalla’s stuff on that sucker but damn is it hard. So many strings 😳


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JBlough
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Riley KZ
Re: Top 200 Scores of the Century - #95 - 81   Friday, May 27, 2022 (10:36 a.m.) 

> #95 - The Way Back by Rob Simonsen

> For all the (misguided in my opinion) praise he got for Ghostbusters

Afterlife is still the only Simonsen score I've heard, unless we're counting all those Danna scores he did additional music for. Perhaps something to fix this or next year.

> #94 - Changing Lanes by David Arnold

Haven't heard this one, despite my rampant Arnold fandom.

> #93 - The Star Wars Disney Trilogy by John Williams

Definitely cheating, but hey, it's your list.

I do feel your pain on differentiating though. Phantom Menace, Rise of Skywalker, and Last Jedi are #113-115 on my rankings (Force Awakens is decidedly superior in my book).

> #92 - The 25th Hour by Terence Blanchard

Haven't heard most of Blanchard's work (shame on me). Love the film though.

> #91 - The Departed by Howard Shore

Very good album.

> #90 - Minority Report by John Williams

I've always liked this score in parts but struggled to appreciate it as a whole. The recent expansion didn't alter that opinion.

I'm with this website on at least one thing - the music really isn't all that Herrmann-esque.

> #89 - Real Steel by Danny Elfman

Top 10 Elfman fore sure.

> #88 - Eragon by Patrick Doyle

A bit too homogeneous to be a classic for me (I'm slightly more partial to the more varied Last Legion), but it's still a tremendously entertaining work.

> #87 - Departures by Joe Hisaishi

This is a little too sparse of an album at times to be an outright classic, but it has some tremendous highs. I'd argue the score might be best experienced in the suite from Melodyphony.

> #85 - Brokeback Mountain by Gustavo Santaolalla

I've become a bit more tolerant of 'simple music' since 2005 - and I've never actually heard the score standalone - but I can't see myself ever rating it this highly.

> #84 - Van Helsing by Alan Silvestri

Pretty much all that's keeping me from rating it this highly is the absence of a strong hero theme (at least on album). The score does focus on action and monsters - though thankfully those moments are excellent.

I did a Silvestri rundown last year and my wife was struck by how impressively loud parts of this score were.

> #83 - Spider-Man 1 and 2 by Danny Elfman, Amazing Spider-Man by James Horner, and Amazing Spider-Man 2 by Hans Zimmer

THIS is definitely cheating.

In 1-2 months I'm probably gonna listen to ASM2 for the first time. Ohhhhhh boy.

> #82 - Gone In 60 Seconds by Trevor Rabin

> it’s not just industrial techno-noise like some critics complained at the time (you’re still wrong Jon!!!)

I had to check if I actually used any of those words - but then I realized that was probably meant for Mr. Broxton.

> #81 - Carol by Carter Burwell

One of those Burwell scores that definitely aided its film but left me cold on album. I wish I were more sophisticated enough to explain why.



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Riley KZ
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JBlough
Re: Top 200 Scores of the Century - #95 - 81   Friday, May 27, 2022 (11:09 a.m.) 

> Afterlife is still the only Simonsen score I've heard, unless we're
> counting all those Danna scores he did additional music for. Perhaps
> something to fix this or next year.

Way Back and Nerve are probably his best. Also, confusingly, The Way Way Back.

> Haven't heard this one, despite my rampant Arnold fandom.

> Definitely cheating, but hey, it's your list.

> I do feel your pain on differentiating though. Phantom Menace,
> Rise of Skywalker, and Last Jedi are #113-115 on my rankings
> (Force Awakens is decidedly superior in my book).

> Haven't heard most of Blanchard's work (shame on me). Love the film
> though.

Yeah movie is excellent - if you like it, then you’d love hearing the album stand alone.

> Very good album.

> I've always liked this score in parts but struggled to appreciate it as a
> whole. The recent expansion didn't alter that opinion.

> I'm with this website on at least one thing - the music really isn't all
> that Herrmann-esque.

I guess I mean that more so in tone than instrumentation or style (Herrmann would’ve had way more horns). Just the creepy, twitchy nature of it reminds me quite a bit of Psycho and the weirder parts of Marnie.

> Top 10 Elfman fore sure.

> A bit too homogeneous to be a classic for me (I'm slightly more partial to
> the more varied Last Legion), but it's still a tremendously
> entertaining work.

> This is a little too sparse of an album at times to be an outright
> classic, but it has some tremendous highs. I'd argue the score might be
> best experienced in the suite from Melodyphony.

Huh, haven’t heard of that one. Gonna give er a spin.

> I've become a bit more tolerant of 'simple music' since 2005 - and I've
> never actually heard the score standalone - but I can't see myself ever
> rating it this highly.

Give the stand-alone 30 min version a try. You might be surprised.

> Pretty much all that's keeping me from rating it this highly is the
> absence of a strong hero theme (at least on album). The score does focus
> on action and monsters - though thankfully those moments are excellent.

There is a hero theme, a really fun 10 note thing, I think it plays most prominently in the scene when he’s swinging across the bridge, bht yeah, I guess it could’ve been more pronounced and heard more often on album.

> I did a Silvestri rundown last year and my wife was struck by how
> impressively loud parts of this score were.

> THIS is definitely cheating.

My list my rules!!! Gets even stupider when I combine two Bournes but not the others haha.

> In 1-2 months I'm probably gonna listen to ASM2 for the first time.
> Ohhhhhh boy.

> I had to check if I actually used any of those words - but then I realized
> that was probably meant for Mr. Broxton.

Hahaha whoops, yeah, I was referring to his review which, if memory serves, was one of those “this kind of music is ruining the industry” type things. But done in a MUCH more polite and calm way than we usually see with those.

> One of those Burwell scores that definitely aided its film but left me
> cold on album. I wish I were more sophisticated enough to explain why.

“Cold” is an expression I use with literally every Burwell…except this one. Just find it such a beautiful, sad score.


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Riley KZ
Re: Top 200 Scores of the Century - #95 - 81   Friday, May 27, 2022 (11:41 a.m.) 

> And here we go with more of this stuff cause it's Friday dammit, let's
> celebrate with UNDERRATED MUSIC RILEY DOTH DECLAIM

> --------

> #95 - The Way Back by Rob Simonsen

> My #1 pick of 2020 that probably got more than one raised eyebrow. I still
> maintain it’s a gorgeous, heart-breaking chamber score with a fantastic
> monothematic core, usually played on solo piano’s or backed up with
> clapping percussion. None of which could have been great, true, but it
> works wonders in the film, is a great relaxing album listen, and a
> surprisingly honest musical representation of alcoholism. For all the
> (misguided in my opinion) praise he got for Ghostbusters, I really hope
> someday this finds the acclaim it should have got.

> Best Cue:
> https://www.youtube.com/watch?v=dO0ydMf-lMs&list=PLBKadB95sF45EIvMGIN0P7DjxnLlVy-E4&index=2

Need to hear it.

> #94 - Changing Lanes by David Arnold

> If I ever met Mr. Arnold, I’d love to tell him the first and still my
> favorite score of his I bought was Changing Lanes, and watch his reaction.
> He’d probably call me a wanker and walk away. But I’m being genuine – I
> love this score as much as I love the movie, and that’s a lot (hell, I
> literally just rewatched it again two nights ago). Critics at the time
> RAVAGED it, calling it electronic murky muck. And yes, it’s almost
> completely synthetic music. Yet in a scratchy, chaotic, mesmerizing way
> that sounds extremely different than the other droning crap it gets
> clumped in with. Plus, it repeatedly utilizes two different motif’s; one
> hectic, one melancholy, so it’s not just a bunch of electronic noise.
> Super underrated score.

> Best Cue: https://www.youtube.com/watch?v=RGflrHmzNvo

Need to hear it.

> #93 - The Star Wars Disney Trilogy by John Williams

> Totally cheating by combining all of these suckers (and it’s gonna happen
> more often soon), yet I think this is one that won’t get many complaints,
> because really….how DOES one rank these three scores differently? Force
> Awakens introduced us to a whole bunch of awesome new themes (yes, even
> Rey’s theme, I’ve changed my tune since 2015), Last Jedi elaborated and
> was even more epic, and then Rise of Skywalker mixed all that with a
> shitload of nostalgic returns to old Star Wars music. Movies range from
> mediocre to absolute dumpster fires but the music made it all worth it,
> and if I had to pick a favourite…I don’t think I could. Like em all
> equally.

> Best Cue from FA:
> https://www.youtube.com/watch?v=65As1V0vQDM&list=PLUU0SWK_OL9Rzldg8NwSHJDa0xy1f0xuV&index=6

> Best Cue from LJ:
> https://www.youtube.com/watch?v=YIIvAoHIsPQ&list=PL1IbDEw68S5MOfe-CrPpx0TP0xlCCYHnQ&index=16

> Best Cue from RS:
> https://www.youtube.com/watch?v=kIr-3GYLZMM&list=PLohYzz4btpaRp8QSC2e9gzyZ1hd7byj_X&index=15

Okay, these I agree with. Shame that the unabashedly evil take on Kylo Ren’s theme from the end of TLJ wasn’t in TROS, on account of Abrams deciding to do an undercooked redemption arc instead.

> #92 - The 25th Hour by Terence Blanchard

> Blanchard has done a lot of scores in the past couple decades, most of
> which aren’t exactly my favourite stuff to listen to (except
> BlackKklansman and Da 5 Bloods, which grow on me with each listen). But
> hoooo boy, is The 25th Hour a winner, his career pinnacle by far for me.
> Opening with a powerhouse of a cue, the score ranges from melodic
> jazziness to tragic, melancholy underscore to overwhelming melodrama. Its
> one of those albums I keep telling people they gotta check out, and all
> too frequently I keep getting ignored. Stop that! Go listen to it!

> Best Cue:
> https://www.youtube.com/watch?v=Eg-uAqdRCD0&list=OLAK5uy_mJM8VhOV4qS-PPTpZsF274zw9WCD-WXkg

I really need to hear more from him.

> #90 - Minority Report by John Williams

> What happens when you get Bernard Herrmann to score Blade Runner? Minority
> Report, that’s what. Maybe because of the darker, more obtuse nature of
> the score, it never received the acclaim that 98% other John Williams
> scores get (especially ones tied to Spielberg). And I just don’t
> understand. He nails the mystery, the foreign futuristic aspect of the
> Pre-Cog’s, the creepy stuff, the noir throwbacks, and the action material
> (Anderton’s Great Escape is, for my money, JW’s very best action cue. Yes,
> better than Battle on Hoth). A tougher score than usual from him, but at
> least in my books, one of his best.

> Best Cue: https://www.youtube.com/watch?v=Qm1ZVZcy97Y

I… actually don’t like this one much. It’s okay.

> #87 - Departures by Joe Hisaishi

> So this might be a weird opinion, but I think Hisaishi’s best score isn’t
> for a Miyazaki flick – its for this live action drama about a cellist
> playing music for funerals. As expected from the plot description, the
> cello is the hero here, and man does Hisaishi wring every ounce of beauty
> from that instrument. The primary theme, heard frequently both on cello,
> violins, and piano, is the composer’s very best. An incredibly touching
> and moving score.

> Best Cue:
> https://www.youtube.com/watch?v=72UHlQ4TyHA&list=PLF3B3DF9A1FE6A64D

Okay, this ima check out pronto.

> #86 - The Incredible Hulk by Craig Armstrong

> Frick sakes, WHY DOESN’T THIS GUY SCORE MORE ACTION FLICKS??? Incredible
> Hulk seemed like such an odd project for the dramatic Scot, yet he blew me
> away with the work, particularly the action cues; Favela Chase is one of
> the strongest non-Bourne chase scene cues I’ve ever heard. He also wound
> up using a sound that became verrrrrrry (too) familiar after Inception,
> the “horn of doom”, but the way he works it into the Hulk theme and
> persona is exceptional. Probably my fave MCU score.

> Best Cue: https://www.youtube.com/watch?v=hjh9B_hTNpE

YES! I love this work, it was my introduction to Armstrong’s music, and probably my favourite of Marvel’s phase 1 scores period.

> #85 - Brokeback Mountain by Gustavo Santaolalla

> Hahahaha yes, yes, absolutely yes. Y’all can eat it, cause this score
> actually DID deserve it’s Oscar (I won’t get into the Babel travesty
> though). WIthin context, it’s a perfect accompaniment to the story and
> embodiment of forbidden, ruined love (Ang Lee played parts of it on set to
> get the actors in the mood). But out of context…I still love it. People
> bitched about it being under 15 minutes; well, it’s not, and the 30 min
> bootleg has some gorgeous highlights (like Horse Love) that were missing
> from the commercial album. I honestly don’t know how anyone can listen to
> The Wings, either separate or within the flick, and not get all misty.
> Sorry, folks – you missed the boat with this one. Go relisten and remedy
> this problem immediately.

> Best Cue: https://www.youtube.com/watch?v=wOdogMyDt-s

Unexpected. Once again, I search for a bootleg it seems…

> #84 - Van Helsing by Alan Silvestri

> What a gloriously, unabashedly awesome score this is; perfect, really, for
> a gloriously, unabashedly silly movie. A monster mash-up from the guy that
> made The Mummy, Van Helsing never takes itself too seriously, whereas
> Silvestri created this bombastic, epic work that could play in any major
> action/horror spectacle. For all the awesome stuff to unpack here, the
> very best is the use of a fast-paced guitar (at least I think it’s a
> guitar) in tracks like the one below.

> Best Cue: https://www.youtube.com/watch?v=rVbBMRT84cs

Top three Silvestri for me.

> #83 - Spider-Man 1 and 2 by Danny Elfman, Amazing Spider-Man by James
> Horner, and Amazing Spider-Man 2 by Hans Zimmer

> Yeah…this is the biggest bag of cheating someone writing up a list could
> possibly conjure up. Especially since I’m not just saying “all the
> Spidey’s”, because I personally think Chris Young’s SM3 is overrated, and
> I don’t particularly care for Giacchino’s MCU ones (and the less said
> about Pemberton’s Spider-Verse, the better). But I can’t decide which of
> these I like more, enjoying them all pretty equally. In terms of
> intelligence and deflty mixing swinging heroics with surprising emotion,
> Elfman’s Spidey 2 and Horner’s works are the best. But the first Spidey
> gave us all these great themes, and Zimmer’s outing continually grows on
> me – it’s ridiculous (like the Electro dub-step stuff), but that’s half
> the fun. Taken together, these four superhero scores represent some of the
> best music the genre has ever offered.

> Best Cue from SM: https://www.youtube.com/watch?v=6qcJS_e2_hY

> Best Cue from SM2: https://www.youtube.com/watch?v=fVkN8riiqRM

> Best Cue from AMS: https://www.youtube.com/watch?v=0ymXXOYL6Sc

> Best Cue from AMS2: https://www.youtube.com/watch?v=9C3yyA5DuKk

Here’s a statement you’re not going to like- I prefer Giacchino’s trilogy to Elfman *and* Zimmer’s takes on the character, especially in how he approaches the protagonist (which I find more authentic to Parker’s youth than Elfman’s gravitas and choir, and Zimmer’s fanfare-like theme). Horner’s is probably my favourite though, but it also has the backing of MAXIMUM NOSTALGIA (doubly so, on account that we’ll never hear a superhero score of his again).

> #81 - Carol by Carter Burwell

> This is one that has improved so much with every passing listen since it
> first came out. I heard it out of context first, thought it was pretty,
> but nothing special. Then I saw the flick, and then saw it again, and
> realized Burwell absolutely NAILED the mournful feeling of romantic
> regret, of a love that could have been but sadly couldn’t continue. The
> melodies here are enchanting and I don’t think Burwell ever used pianos in
> a better, more moving way. Not an uplifting or jovial listen by any means,
> but definitely my favourite work from the guy.

> Best Cue: https://www.youtube.com/watch?v=f58FWDb1ARw

…I haven’t heard a new Burwell in months. I should rectify that.

> ---------

> Coming up: More Rabin, more Horner's, finally a Goldsmith, a Spanish TV
> score, and several that absolutely no one talks about which really bums me
> out.



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Riley KZ
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ArborArcanist
Re: Top 200 Scores of the Century - #95 - 81   Sunday, May 29, 2022 (7:57 a.m.) 

> Need to hear it.

> Need to hear it.

Then do it!!! :P

> Okay, these I agree with. Shame that the unabashedly evil take on Kylo
> Ren’s theme from the end of TLJ wasn’t in TROS, on account of Abrams
> deciding to do an undercooked redemption arc instead.

Everything about that trilogy was undercooked...

> I really need to hear more from him.

> I… actually don’t like this one much. It’s okay.

Well poopy on you then.

> Okay, this ima check out pronto.

> YES! I love this work, it was my introduction to Armstrong’s music, and
> probably my favourite of Marvel’s phase 1 scores period.

So good, and....so strange most don't agree.

> Unexpected. Once again, I search for a bootleg it seems…

> Top three Silvestri for me.

> Here’s a statement you’re not going to like- I prefer Giacchino’s trilogy
> to Elfman *and* Zimmer’s takes on the character, especially in how he
> approaches the protagonist (which I find more authentic to Parker’s youth
> than Elfman’s gravitas and choir, and Zimmer’s fanfare-like theme).
> Horner’s is probably my favourite though, but it also has the backing of
> MAXIMUM NOSTALGIA (doubly so, on account that we’ll never hear a superhero
> score of his again).

No, I'm with ya -- his theme for Spidey is perfect for those flicks. It's just that overall the music is so much more bouncy and kiddie, to my hears (which suits the material, obvs, but still) that I don't ever listen to them on their own.

> …I haven’t heard a new Burwell in months. I should rectify that.

Start with this one. Then you can probably end with this one ZING!


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Olivia D.
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Riley KZ
Re: Top 200 Scores of the Century - #95 - 81   Friday, May 27, 2022 (12:29 p.m.) 
• Now Playing: The 'Burbs  

> And here we go with more of this stuff cause it's Friday dammit, let's
> celebrate with UNDERRATED MUSIC RILEY DOTH DECLAIM

> --------

> #95 - The Way Back by Rob Simonsen

> My #1 pick of 2020 that probably got more than one raised eyebrow. I still
> maintain it’s a gorgeous, heart-breaking chamber score with a fantastic
> monothematic core, usually played on solo piano’s or backed up with
> clapping percussion. None of which could have been great, true, but it
> works wonders in the film, is a great relaxing album listen, and a
> surprisingly honest musical representation of alcoholism. For all the
> (misguided in my opinion) praise he got for Ghostbusters, I really hope
> someday this finds the acclaim it should have got.

> Best Cue:
> https://www.youtube.com/watch?v=dO0ydMf-lMs&list=PLBKadB95sF45EIvMGIN0P7DjxnLlVy-E4&index=2

> #94 - Changing Lanes by David Arnold

> If I ever met Mr. Arnold, I’d love to tell him the first and still my
> favorite score of his I bought was Changing Lanes, and watch his reaction.
> He’d probably call me a wanker and walk away. But I’m being genuine – I
> love this score as much as I love the movie, and that’s a lot (hell, I
> literally just rewatched it again two nights ago). Critics at the time
> RAVAGED it, calling it electronic murky muck. And yes, it’s almost
> completely synthetic music. Yet in a scratchy, chaotic, mesmerizing way
> that sounds extremely different than the other droning crap it gets
> clumped in with. Plus, it repeatedly utilizes two different motif’s; one
> hectic, one melancholy, so it’s not just a bunch of electronic noise.
> Super underrated score.

> Best Cue: https://www.youtube.com/watch?v=RGflrHmzNvo

> #93 - The Star Wars Disney Trilogy by John Williams

> Totally cheating by combining all of these suckers (and it’s gonna happen
> more often soon), yet I think this is one that won’t get many complaints,
> because really….how DOES one rank these three scores differently? Force
> Awakens introduced us to a whole bunch of awesome new themes (yes, even
> Rey’s theme, I’ve changed my tune since 2015), Last Jedi elaborated and
> was even more epic, and then Rise of Skywalker mixed all that with a
> shitload of nostalgic returns to old Star Wars music. Movies range from
> mediocre to absolute dumpster fires but the music made it all worth it,
> and if I had to pick a favourite…I don’t think I could. Like em all
> equally.

> Best Cue from FA:
> https://www.youtube.com/watch?v=65As1V0vQDM&list=PLUU0SWK_OL9Rzldg8NwSHJDa0xy1f0xuV&index=6

> Best Cue from LJ:
> https://www.youtube.com/watch?v=YIIvAoHIsPQ&list=PL1IbDEw68S5MOfe-CrPpx0TP0xlCCYHnQ&index=16

> Best Cue from RS:
> https://www.youtube.com/watch?v=kIr-3GYLZMM&list=PLohYzz4btpaRp8QSC2e9gzyZ1hd7byj_X&index=15

My only problem is with The Last Jedi and that's because John kinda spoiled me with all the great new themes that I was really disappointed that he only had ONE strong new theme, but I blame that on Rian Johnson although it has some really poignant statements of the brother/sister that saves it. However The Rise of Skywalker I love, I thought in Return of the Jedi that John gave a great musical send-off to Star Wars, but then he did it again, When he he stated the main title theme in the end credits I couldn't help but cry at him musically saying goodbye to a franchise he's been doing for more than half his life, its such a pity Abrams butchered it to pieces in the final cut because the greatest composer alive deserves more than that.

> #92 - The 25th Hour by Terence Blanchard

> Blanchard has done a lot of scores in the past couple decades, most of
> which aren’t exactly my favourite stuff to listen to (except
> BlackKklansman and Da 5 Bloods, which grow on me with each listen). But
> hoooo boy, is The 25th Hour a winner, his career pinnacle by far for me.
> Opening with a powerhouse of a cue, the score ranges from melodic
> jazziness to tragic, melancholy underscore to overwhelming melodrama. Its
> one of those albums I keep telling people they gotta check out, and all
> too frequently I keep getting ignored. Stop that! Go listen to it!

> Best Cue:
> https://www.youtube.com/watch?v=Eg-uAqdRCD0&list=OLAK5uy_mJM8VhOV4qS-PPTpZsF274zw9WCD-WXkg

> #91 - The Departed by Howard Shore

> One of my favourite movies for being so goddamned entertaining, The
> Departed is also my favourite non-LOTR Shore score. First reason – making
> half the score a guitar-infused tango, for a fuckin’ Scorsese crime
> thriller of all things? Brilliant. Second reason – the cue below, which
> I’ve listened to probably 800 times since 2006. The suspense material,
> which is more electric-guitar underscore in the vein of some of his
> Cronenberg works, isn’t as interesting, although it remains effective. And
> anytime The Departed picks up a guitar, its solid gold.

> Best Cue:
> https://www.youtube.com/watch?v=NOdjPZOkkdE&list=OLAK5uy_mU-M_Mrgmg1DLX_sSefj7KRn2uk2xA48M

> #90 - Minority Report by John Williams

> What happens when you get Bernard Herrmann to score Blade Runner? Minority
> Report, that’s what. Maybe because of the darker, more obtuse nature of
> the score, it never received the acclaim that 98% other John Williams
> scores get (especially ones tied to Spielberg). And I just don’t
> understand. He nails the mystery, the foreign futuristic aspect of the
> Pre-Cog’s, the creepy stuff, the noir throwbacks, and the action material
> (Anderton’s Great Escape is, for my money, JW’s very best action cue. Yes,
> better than Battle on Hoth). A tougher score than usual from him, but at
> least in my books, one of his best.

> Best Cue: https://www.youtube.com/watch?v=Qm1ZVZcy97Y

> #89 - Real Steel by Danny Elfman

> One of the rare times in the 2010’s where I felt Elfman not only delivered
> a masterpiece worthy of comparison with his 80’s and 90’s faves, but also
> one that frankly didn’t sound like any other Elfman score. For a
> relatively simple and silly movie, the music is just phenomenal, happily
> mixing gentle acoustics with light rock sensibilities and, in the final
> two cues, uplifting and goosebump-inducing music the likes of which don’t
> happen nearly often enough.

> Best Cue: https://www.youtube.com/watch?v=YXOVqGr9VhI

> #88 - Eragon by Patrick Doyle

> Like most of Doyle’s scores for some odd reason, I shrugged and rapidly
> moved on after my first listen of Eragon, only to return to it years later
> and go “Holy shitballs this is good!” A rousing fantasy/adventure score
> that hits all the right notes (nyuk nyuk) and does it in a tight, concise
> album. Haven’t seen the flick so not sure if there’s some major music
> missing, but I love the CD the way it is, and goddamn, that THEME, that
> awesome and memorable main theme. So good.

> Best Cue: https://www.youtube.com/watch?v=u6qPMjVrtuM

Bought this from a thrift store a while back, still haven't listened to it because of all the scores on Youtube I've been plowing through, though now you've made me want to give it a listen.

> #87 - Departures by Joe Hisaishi

> So this might be a weird opinion, but I think Hisaishi’s best score isn’t
> for a Miyazaki flick – its for this live action drama about a cellist
> playing music for funerals. As expected from the plot description, the
> cello is the hero here, and man does Hisaishi wring every ounce of beauty
> from that instrument. The primary theme, heard frequently both on cello,
> violins, and piano, is the composer’s very best. An incredibly touching
> and moving score.

> Best Cue:
> https://www.youtube.com/watch?v=72UHlQ4TyHA&list=PLF3B3DF9A1FE6A64D

> #86 - The Incredible Hulk by Craig Armstrong

> Frick sakes, WHY DOESN’T THIS GUY SCORE MORE ACTION FLICKS??? Incredible
> Hulk seemed like such an odd project for the dramatic Scot, yet he blew me
> away with the work, particularly the action cues; Favela Chase is one of
> the strongest non-Bourne chase scene cues I’ve ever heard. He also wound
> up using a sound that became verrrrrrry (too) familiar after Inception,
> the “horn of doom”, but the way he works it into the Hulk theme and
> persona is exceptional. Probably my fave MCU score.

> Best Cue: https://www.youtube.com/watch?v=hjh9B_hTNpE

Its definitely my second favourite from Armstrong after Me Before You, adore the love theme and that he brings Joe Harnell's "Lonely Man Theme" back when pretty much any other composer wouldn't have shows that he was the best pick for it and that it was also the first intelligent superhero score since The Last Stand and way better than Elfman's Hulk score.

> #85 - Brokeback Mountain by Gustavo Santaolalla

> Hahahaha yes, yes, absolutely yes. Y’all can eat it, cause this score
> actually DID deserve it’s Oscar (I won’t get into the Babel travesty
> though). WIthin context, it’s a perfect accompaniment to the story and
> embodiment of forbidden, ruined love (Ang Lee played parts of it on set to
> get the actors in the mood). But out of context…I still love it. People
> bitched about it being under 15 minutes; well, it’s not, and the 30 min
> bootleg has some gorgeous highlights (like Horse Love) that were missing
> from the commercial album. I honestly don’t know how anyone can listen to
> The Wings, either separate or within the flick, and not get all misty.
> Sorry, folks – you missed the boat with this one. Go relisten and remedy
> this problem immediately.

> Best Cue: https://www.youtube.com/watch?v=wOdogMyDt-s

> #84 - Van Helsing by Alan Silvestri

> What a gloriously, unabashedly awesome score this is; perfect, really, for
> a gloriously, unabashedly silly movie. A monster mash-up from the guy that
> made The Mummy, Van Helsing never takes itself too seriously, whereas
> Silvestri created this bombastic, epic work that could play in any major
> action/horror spectacle. For all the awesome stuff to unpack here, the
> very best is the use of a fast-paced guitar (at least I think it’s a
> guitar) in tracks like the one below.

> Best Cue: https://www.youtube.com/watch?v=rVbBMRT84cs

Just another great example of why I love Alan Silvestri in Action mode, after Jerry Goldsmith he is probably the second best action music composer I've heard.

> #83 - Spider-Man 1 and 2 by Danny Elfman, Amazing Spider-Man by James
> Horner, and Amazing Spider-Man 2 by Hans Zimmer

> Yeah…this is the biggest bag of cheating someone writing up a list could
> possibly conjure up. Especially since I’m not just saying “all the
> Spidey’s”, because I personally think Chris Young’s SM3 is overrated, and
> I don’t particularly care for Giacchino’s MCU ones (and the less said
> about Pemberton’s Spider-Verse, the better). But I can’t decide which of
> these I like more, enjoying them all pretty equally. In terms of
> intelligence and deflty mixing swinging heroics with surprising emotion,
> Elfman’s Spidey 2 and Horner’s works are the best. But the first Spidey
> gave us all these great themes, and Zimmer’s outing continually grows on
> me – it’s ridiculous (like the Electro dub-step stuff), but that’s half
> the fun. Taken together, these four superhero scores represent some of the
> best music the genre has ever offered.

> Best Cue from SM: https://www.youtube.com/watch?v=6qcJS_e2_hY

> Best Cue from SM2: https://www.youtube.com/watch?v=fVkN8riiqRM

> Best Cue from AMS: https://www.youtube.com/watch?v=0ymXXOYL6Sc

> Best Cue from AMS2: https://www.youtube.com/watch?v=9C3yyA5DuKk

Horner's score is my favourite suprehero score period. Really emotional and I love the music for when Uncle Ben and Gwen Stacy's father dies, some the most touching and poignant music James ever wrote and "Rooftop Kiss" is sooo beautiful, just (for me) the best superhero score ever and Zimmer and team's one has grown on me too! Really love the love theme in that one and I also never really liked Giacchino's scores either, they are way too upbeat and I like my Spider-Man scores to be darkly romantic and Zimmer's one is. Without a doubt Pemberton's one is the worst, though.

> #82 - Gone In 60 Seconds by Trevor Rabin

> He’s baaaaack. This was one of my first “download a score illegally from
> Kazaa cause I can’t find it anywhere and keep getting outbid on eBay”
> experiences (and for you modern day kiddos – each track took about a week
> to download. We used to work hard for our piracy). Loved it then, love it
> even more now; it’s not just industrial techno-noise like some critics
> complained at the time (you’re still wrong Jon!!!). It’s entertaining and
> actually quite clever in its stupidity, and I especially love the use of
> wordless female vocals mixed in with the action. Very short album (not
> even 30 mins long) so it ain’t gonna eat up a bunch of your time.

> Best Cue: https://www.youtube.com/watch?v=k9QyrnDq1lA

> #81 - Carol by Carter Burwell

> This is one that has improved so much with every passing listen since it
> first came out. I heard it out of context first, thought it was pretty,
> but nothing special. Then I saw the flick, and then saw it again, and
> realized Burwell absolutely NAILED the mournful feeling of romantic
> regret, of a love that could have been but sadly couldn’t continue. The
> melodies here are enchanting and I don’t think Burwell ever used pianos in
> a better, more moving way. Not an uplifting or jovial listen by any means,
> but definitely my favourite work from the guy.

> Best Cue: https://www.youtube.com/watch?v=f58FWDb1ARw

Definitely one of Carter's most beautiful scores along with Mildred Pierce.

> ---------

> Coming up: More Rabin, more Horner's, finally a Goldsmith, a Spanish TV
> score, and several that absolutely no one talks about which really bums me
> out.

Yay, Goldsmith at last.


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Riley KZ
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Olivia D.

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Olivia D.
Re: Top 200 Scores of the Century - #95 - 81   Sunday, May 29, 2022 (7:55 a.m.) 

> My only problem is with The Last Jedi and that's because John kinda
> spoiled me with all the great new themes that I was really disappointed
> that he only had ONE strong new theme, but I blame that on Rian Johnson
> although it has some really poignant statements of the brother/sister that
> saves it. However The Rise of Skywalker I love, I thought in Return of the
> Jedi that John gave a great musical send-off to Star Wars, but then he did
> it again, When he he stated the main title theme in the end credits I
> couldn't help but cry at him musically saying goodbye to a franchise he's
> been doing for more than half his life, its such a pity Abrams butchered
> it to pieces in the final cut because the greatest composer alive deserves
> more than that.

Everyone deserves more than RotS :P

> Bought this from a thrift store a while back, still haven't listened to it
> because of all the scores on Youtube I've been plowing through, though now
> you've made me want to give it a listen.

Excellent.

> Its definitely my second favourite from Armstrong after Me Before You,
> adore the love theme and that he brings Joe Harnell's 'Lonely Man Theme'
> back when pretty much any other composer wouldn't have shows that he was
> the best pick for it and that it was also the first intelligent superhero
> score since The Last Stand and way better than Elfman's Hulk score.

Well I will admit Elfman's Hulk was on my top 200 before some new ones booted it just below, really dig that one and it's awesome descending motif.

> Just another great example of why I love Alan Silvestri in Action mode,
> after Jerry Goldsmith he is probably the second best action music composer
> I've heard.

> Horner's score is my favourite suprehero score period. Really emotional
> and I love the music for when Uncle Ben and Gwen Stacy's father dies, some
> the most touching and poignant music James ever wrote and 'Rooftop Kiss'
> is sooo beautiful, just (for me) the best superhero score ever and Zimmer
> and team's one has grown on me too! Really love the love theme in that one
> and I also never really liked Giacchino's scores either, they are way too
> upbeat and I like my Spider-Man scores to be darkly romantic and Zimmer's
> one is. Without a doubt Pemberton's one is the worst, though.

Yeah, agreed. Rooftop Kiss is just the kind of pretty, emotional love music you don't hear much anymore. Give James a piano and he could wither the hardest soul.

> Definitely one of Carter's most beautiful scores along with Mildred
> Pierce.

Huh, y'know....I haven't heard that one :/

> Yay, Goldsmith at last.

Two upcoming actually!


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Olivia D.
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Riley KZ
Re: Top 200 Scores of the Century - #95 - 81   Sunday, May 29, 2022 (10:42 a.m.) 

> Everyone deserves more than RotS :P

> Excellent.

> Well I will admit Elfman's Hulk was on my top 200 before some new ones
> booted it just below, really dig that one and it's awesome descending
> motif.

I like Danny's Hulk score, it just pales in comparison to Armstrong's masterpiece.

> Yeah, agreed. Rooftop Kiss is just the kind of pretty, emotional love
> music you don't hear much anymore. Give James a piano and he could wither
> the hardest soul.

Yep, James was the best at love themes period.

> Huh, y'know....I haven't heard that one :/

I'd recommend it as it sounds a lot like Carol, because they have the same director.

> Two upcoming actually!

Double Yay!


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Steven P.
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Riley KZ
Re: Top 200 Scores of the Century - #95 - 81   Friday, May 27, 2022 (4:50 p.m.) 
• Now Playing: How to Train Your Dragon 2 (Deluxe) - Powell  

> #93 - The Star Wars Disney Trilogy by John Williams

These would all be higher on my list, but I'm a Star Wars music addict. I'm hoping they get expanded releases one day, but heck I've been waiting on them to do that for the prequels for an absurdly long time. Why is Presumed Innocent getting an expanded release over Star Wars (and I say that as someone who likes Presumed Innocent).

> #92 - The 25th Hour by Terence Blanchard

Great score to a great film. Now that Criterion has released a few Spike Lee films, I'd love for them to give a proper release for this film.

> #91 - The Departed by Howard Shore

Also my favorite non-middle earth Shore score. The film is great and is a fantastic example of a movie using both songs and score effectively.

> #90 - Minority Report by John Williams

I enjoy it, but I have a bunch of Williams scores I'd put ahead of it.

> #89 - Real Steel by Danny Elfman

I really miss this Elfman.

> #88 - Eragon by Patrick Doyle

Agree, a top Doyle score.

> #86 - The Incredible Hulk by Craig Armstrong

I'd gladly welcome Armstrong to score another comic book film. After all these years Incredible Hulk is still a top 5 MCU score for me.

> #84 - Van Helsing by Alan Silvestri

I always thought this one was over-rated, but I've also heard the complete score balances the music out more from the action heavy original album, so maybe I need to hear that to fully judge it.

> #83 - Spider-Man 1 and 2 by Danny Elfman, Amazing Spider-Man by James
> Horner, and Amazing Spider-Man 2 by Hans Zimmer

Why don't you care for Young's score? I think he does fantastic work with adapting Elfman's themes, and adding fantastic new ones for Sandman, the symbiote/black suited Spider-man, and Venom. Really hoping it gets an official release.



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Riley KZ
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Steven P.
Re: Top 200 Scores of the Century - #95 - 81   Sunday, May 29, 2022 (7:53 a.m.) 

> These would all be higher on my list, but I'm a Star Wars music addict.
> I'm hoping they get expanded releases one day, but heck I've been waiting
> on them to do that for the prequels for an absurdly long time. Why is
> Presumed Innocent getting an expanded release over Star Wars (and I say
> that as someone who likes Presumed Innocent).

That is kinda funny haha, though I love PI so much I can't complain.

> Great score to a great film. Now that Criterion has released a few Spike
> Lee films, I'd love for them to give a proper release for this film.

I do have a blu-ray combi with that and He Got Game, and it looks terrific, but yeah...surprised Criterion hasn't hopped on that one.

> Also my favorite non-middle earth Shore score. The film is great and is a
> fantastic example of a movie using both songs and score effectively.

Yup.

> I enjoy it, but I have a bunch of Williams scores I'd put ahead of it.

> I really miss this Elfman.

> Agree, a top Doyle score.

> I'd gladly welcome Armstrong to score another comic book film. After all
> these years Incredible Hulk is still a top 5 MCU score for me.

Excellent news!

> I always thought this one was over-rated, but I've also heard the complete
> score balances the music out more from the action heavy original album, so
> maybe I need to hear that to fully judge it.

> Why don't you care for Young's score? I think he does fantastic work with
> adapting Elfman's themes, and adding fantastic new ones for Sandman, the
> symbiote/black suited Spider-man, and Venom. Really hoping it gets an
> official release.

Love his Sandman stuff and adapting Elfman's work was well done, but everything else I find either surprisingly anonymous or just plain bad (the fight scene between Harry and Peter sounds almost disco-like, really stood out badly in the theatre when I saw that mucky muck of a muckness). I dunno...probably still a 3.5/5, but definitely not Top 200 material.


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Soundtracker94
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  In Response to:
Riley KZ

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Riley KZ
Re: Top 200 Scores of the Century - #95 - 81   Friday, May 27, 2022 (5:12 p.m.) 

> And here we go with more of this stuff cause it's Friday dammit, let's
> celebrate with UNDERRATED MUSIC RILEY DOTH DECLAIM

The Riley doth protest too much!

wink

> --------

> #93 - The Star Wars Disney Trilogy by John Williams

> Totally cheating by combining all of these suckers (and it’s gonna happen
> more often soon), yet I think this is one that won’t get many complaints,
> because really….how DOES one rank these three scores differently?

Easily.

1. Force Awakens
2. The Last Jedi
3. Rise of Skywalker

Or in other words release order. Same goes for the films, funnily enough.

> #91 - The Departed by Howard Shore

Need to give Shore's score another shot as I honestly don't remember much about it in the (rather great) film. I think the songs just overshadowed it for me.

> #90 - Minority Report by John Williams

Same as the above... minus the bit about the songs. tongue

> #88 - Eragon by Patrick Doyle

> Haven’t seen the flick so not sure if there’s some major music
> missing, but I love the CD the way it is, and goddamn, that THEME, that
> awesome and memorable main theme. So good.

I have seen the film and own the collectors edition DVD (mainly for the bonus features), but don't remember right off hand if any major moments are missing from the album. Also... need to revisit the album. Remember it being great music to a really poor flick, especially for a major studio release.

> #87 - Departures by Joe Hisaishi

Full transparency: I haven't explored Hisaishi's work outside of anime. Will definitely give this a listen sometime, though. Thanks for bringing it up! smile

> #86 - The Incredible Hulk by Craig Armstrong

It's really great, though my initial experience with it way back when was far more lukewarm. Thankfully warmed up to it over time.

> #84 - Van Helsing by Alan Silvestri

Ah ha! Hear it is. Glad this made your Top 100 as it's really quite fantastic. Would love to get a complete/remastered edition that includes some of the softer cues (which also adds some more depth to the themes).

> #83 - Spider-Man 1 and 2 by Danny Elfman, Amazing Spider-Man by James
> Horner, and Amazing Spider-Man 2 by Hans Zimmer

What a tangled web we weave.... wink

Elfman's 2nd and Horner's would be my picks. Not that big on Zimmer's effort even now and Elfman's initial outing is a little too haphazard for me. Still good, but I prefer the more melodramatic and refined sound of 2.

> ---------

> Coming up: More Rabin, more Horner's, finally a Goldsmith, a Spanish TV
> score, and several that absolutely no one talks about which really bums me
> out.

Always look forward to these, even if (or maybe especially when) I disagree. smile wink


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Riley KZ
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Soundtracker94
Re: Top 200 Scores of the Century - #95 - 81   Sunday, May 29, 2022 (7:52 a.m.) 

> The Riley doth protest too much!

> wink

Um, yup. Where you been? :P

> Easily.

> 1. Force Awakens
> 2. The Last Jedi
> 3. Rise of Skywalker

> Or in other words release order. Same goes for the films, funnily enough.

I'll grant ya the last part.

> Need to give Shore's score another shot as I honestly don't remember much
> about it in the (rather great) film. I think the songs just overshadowed
> it for me.

> Same as the above... minus the bit about the songs. tongue

> I have seen the film and own the collectors edition DVD (mainly for the
> bonus features), but don't remember right off hand if any major moments
> are missing from the album. Also... need to revisit the album. Remember it
> being great music to a really poor flick, especially for a major studio
> release.

> Full transparency: I haven't explored Hisaishi's work outside of anime.
> Will definitely give this a listen sometime, though. Thanks for bringing
> it up! smile

Oh most definitely. It's gorgeous.

> It's really great, though my initial experience with it way back when was
> far more lukewarm. Thankfully warmed up to it over time.

> Ah ha! Hear it is. Glad this made your Top 100 as it's really quite
> fantastic. Would love to get a complete/remastered edition that includes
> some of the softer cues (which also adds some more depth to the themes).

Agreed.

> What a tangled web we weave.... wink

> Elfman's 2nd and Horner's would be my picks. Not that big on Zimmer's
> effort even now and Elfman's initial outing is a little too haphazard for
> me. Still good, but I prefer the more melodramatic and refined sound of 2.

Yeah, your two faves are mine as well. But for the sake of not losing spots for any other earlier score, I figured I'd batch em all together, even though, say, Zimmer's outing wouldn't be anywhere near that high if not combined with the others. I make so much sense.

> Always look forward to these, even if (or maybe especially when) I
> disagree. smile wink

Thanks! And agreed!......?


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