Deep Impact
Bravehart
Perfect Storm
Titanic
Titanic Vol 2
Mask of Zoro

Thanks for any opinions

Braveheart: sheer brilliance, covers a lot of ground.

Mask Of Zorro: pretty good, lively too.

Perfect Storm: quite intensely dramatic, but a bit exhausting.

Titanic: kind of ordinary, but maybe we're all just tired of Titanic per se.

All are very good scores.

Brainstorm....would you believe Silvestri ripped this off for The Abyss

Willow, despite a MAJOR rip-off from Schumann's 3rd Symphony (come on, you can't deny this), is a wonderful score. I just wish it wouldn't annoy me anytime the Schumann stuff appears. But the rest is awesome. Trek 2, Krull and Brainstorm are very good, but Willow is my favourite.

I still haven't played Perfect Storm often enough to have an opinion.

Sneakers works very well in the (wonderful) film, and I've been meaning to get the CD for years - but I still don't have it.

Brainstorm
Cocoon
Star Trek II
Krull
The Land Before Time
Aliens
Willow
Glory

Marian: THE NAME OF THE ROSE is almost entirely electronic; I've never been sure if the boy-choral sound is sampled or not. I found it a bizarre approach to the film, but not inappropriate, although the resulting album is somewhat dull. Horner fought hard to get that movie and use that approach, back when he was still relatively experimental. (It didn't hurt that synth scores were also very trendy at the time.)

SNEAKERS is probably Horner's best work in the 1990s, although I have a personal sneaking fondness for ONCE AROUND as well. BRAVEHEART, APOLLO 13 and TITANIC are somewhat guilty pleasures. ZORRO has its moments. I still think DEEP IMPACT and PERFECT STORM are dreadful, and anyone who likes that side of Horner probably will be thrilled to hear his more vibrant earlier work -- the bulk of which was written in the 1980s.

!!!!!!!!!!!!!!!! KRULL !!!!!!!!!!!!!!!!!

and maybe I like STAR TREK 3 more than a lot of people do, self-derivative as it is. Still, I remember seeing STAR TREK 2 the first time and being blown away by the music, wondering who the hell this Horner character was, and scampering away (in these pre-internet days) to the film section of bookstores to look him up in the indexes. Still a film music neophyte then, I wondered if he was some legend I had so far managed to overlook. (I had yet to see WOLFEN or HUMANOIDS FROM THE DEEP, both of which are also persuasively written.)