This is part of a series.
- Here’s the last post ranking Henry Jackman’s scores - https://www.filmtracks.com/scoreboard/forum.cgi?read=123012
- If you want the full set of links covering the Too Big To Fail era or earlier, click on my profile.

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The Ramin rankings cover all scores that I’ve heard where he’s credited as the primary composer or co-composer.

**
37. The Unborn
36. Mr. Brooks
35. Prison Break Season 3
34. Prison Break Season 4
33. Safe House


**½
32. Prison Break Season 2
31. Prison Break Season 1
30. Deception
29. Fly Me to the Moon
28. Red Dawn
27. Medal of Honor
26. Fright Night
25. Clash of the Titans


***
24. Beat The Drum
23. Westworld Season 3
22. African Safari
21. A Wrinkle in Time
20. Game of Thrones Season 5
19. Game of Thrones Season 4
18. Iron Man
17. Thunderbirds


***½
16. Westworld Season 4
15. Game of Thrones Season 1
14. Game of Thrones Season 2
13. Game of Thrones Season 3
12. Reminiscence
11. Westworld Season 2


****
10. Game of Thrones Season 7
9. Game of Thrones Season 8
8. Game of Thrones Season 6
7. House of the Dragon Season 1
6. Westworld Season 1
5. Warcraft
4. Elephant
3. Eternals


****½
2. The Great Wall
1. Pacific Rim

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Next time: The Lorne Balfe rankings across all eras.

Are you ordering these randomly, by how much you like the composer's output, or using some other method? Would also be curious to hear what interests/surprises you looking at these holistically now (though I bet you're more than happy to be done with commentary).

> The Ramin rankings cover all scores that I’ve heard where he’s credited as
> the primary composer or co-composer.

> **
> 37. The Unborn
> 36. Mr. Brooks
> 35. Prison Break Season 3
> 34. Prison Break Season 4
> 33. Safe House
>
>
> **½
> 32. Prison Break Season 2
> 31. Prison Break Season 1
> 30. Deception
> 29. Fly Me to the Moon
> 28. Red Dawn
> 27. Medal of Honor
> 26. Fright Night
> 25. Clash of the Titans
>
>
> ***
> 24. Beat The Drum
> 23. Westworld Season 3
> 22. African Safari
> 21. A Wrinkle in Time
> 20. Game of Thrones Season 5
> 19. Game of Thrones Season 4
> 18. Iron Man
> 17. Thunderbirds
>
>
> ***½
> 16. Westworld Season 4
> 15. Game of Thrones Season 1
> 14. Game of Thrones Season 2
> 13. Game of Thrones Season 3
> 12. Reminiscence
> 11. Westworld Season 2
>
>
> ****
> 10. Game of Thrones Season 7
> 9. Game of Thrones Season 8
> 8. Game of Thrones Season 6
> 7. House of the Dragon Season 1
> 6. Westworld Season 1
> 5. Warcraft
> 4. Elephant
> 3. Eternals
>
>
> ****½
> 2. The Great Wall
> 1. Pacific Rim

Another set without much to recommend it. I'm way less high on GoT than you (the latter seasons have a few great highlights, but still plenty of middling stuff) and on Elephant/Pacific Rim/The Great Wall than the consensus (though they are all good) which doesn't leave much else. Eternals is the one score that stands out. A Wrinkle in Time feels like the biggest missed opportunity - there are a few really compelling ideas in there that just don't get developed enough.

> Are you ordering these randomly, by how much you like the composer's output, or using some other method?

Volume. Anyone who I've heard 30 or more scores from made the cut.

> Would also be curious to hear what interests/surprises you looking at these holistically now (though I bet you're more than happy to be done with commentary).

I think the surprises were already noted in earlier post comments or rankings (Puss in Boots and Inception were big climbers in the RC era), so there's no net new shocker here.

It helps that these were maintained over the life of the project. Doing a Jackman/Djawadi-sized one from scratch might've been feasible in the last week, but doing a Balfe or Powell one would've been very hard, and a Zimmer-sized one likely impossible.

And I think I noted earlier that Ramin's career pre-Thrones was very different, much more in the direction of sound design and textural/atmospheric music, as you'll note the preponderance of his earlier works in the lower end of the rankings.

> Volume. Anyone who I've heard 30 or more scores from made the cut.

Right, I just meant the order you're posting them in - from worst to best average, or something else?

> I think the surprises were already noted in earlier post comments or
> rankings (Puss in Boots and Inception were big climbers in
> the RC era), so there's no net new shocker here.

Yeah, I figured you'd already shared most thoughts over the course of the write-ups.

> It helps that these were maintained over the life of the project. Doing a
> Jackman/Djawadi-sized one from scratch might've been feasible in the last
> week, but doing a Balfe or Powell one would've been very hard, and a
> Zimmer-sized one likely impossible.

I struggle ranking anything past 20-ish even when I love the music. Ranking hundreds of scores you're indifferent to, well...that's just crazy.

> Right, I just meant the order you're posting them in - from worst to best average, or something else?

Ascending counts was the plan (30 --> 37 --> 47 and so on). And then I realized that - after having Balfe and HGW both at 47 scores and saying that Balfe would be next - Balfe's list was missing 13 Hours.

Oh well.

> I struggle ranking anything past 20-ish even when I love the music. Ranking hundreds of scores you're indifferent to, well...that's just crazy.

This is why the 'all scores across all eras for all composers' rankings will never happen.

> Ascending counts was the plan (30 --> 37 --> 47 and so on). And then
> I realized that - after having Balfe and HGW both at 47 scores and saying
> that Balfe would be next - Balfe's list was missing 13 Hours.

> Oh well.

> This is why the 'all scores across all eras for all composers' rankings
> will never happen.

This popped into my head upon reading this: https://imgflip.com/i/7jb590

> And I think I noted earlier that Ramin's career pre-Thrones was
> very different, much more in the direction of sound design and
> textural/atmospheric music, as you'll note the preponderance of his
> earlier works in the lower end of the rankings.

I wouldn't call Clash of the Titans and Medal of Honor (even Iron Man) a sound-design/textural scores.

There are definitely some themes in those.

> I wouldn't call Clash of the Titans and Medal of Honor (even Iron Man) a
> sound-design/textural scores.

> There are definitely some themes in those.

Dude, he didn't say all of them, he said most of them.

> Dude, he didn't say all of them, he said most of them.

Pre-Thrones, and those are pre-Thrones.

Deception?, yes I would call that textural, like The Unborn or Mr. Brooks, for example, not all of, but in particular those I mention earlier, don't fit in that description.

And don't want be rough, if someone feel that way by my reply.

> I wouldn't call Clash of the Titans and Medal of Honor (even Iron Man) a sound-design/textural scores.

> There are definitely some themes in those.

Agreed on Titans and Iron Man.

Medal of Honor is kind of in the middle. There are parts that are like a hazy, ambient version of Black Hawk Down.

But, as was already noted, the comments were more about things like Mr. Brooks, The Unborn, and especially Deception - and I'd argue a lot of Prison Break falls into this category as well. That's not inherently a complaint; I recall the music of the first season of that show working fairly well in context.