LORD OF THE RINGS: I heard the great buzz on this, but never thought it could be as emotionally charged and intellectually satisfying as it is. The amount of rich detail and variety contained in Shore’s score is something we rarely hear these days, making one fondly recall all those marvelous 70’s and 80’s sci-fi/fantasy scores of my youth. In fact, Shore’s work can easily stand next to the older classic fantasy scores of Bernard Herrmann (JASON & THE ARGONAUTS) and Jerome Moross (VALLEY OF GWANGI). The vocal elements, solo and choral, provide the most effective moments, but also the dense harmonic structure equally compels the listener through each track, tackling the journey side by side with Frodo, Sam, Aragorn and the others. Truly breathtaking, truly monumental, I hope it is regarded as a classic twenty years from now.

THE MUMMY RETURNS: Whenever Alan Silvestri really gets his motor running, you can’t help but hop along for the exhilarating ride! That, plus the fact that I am sucker for anything Silvestri composes in the sci-fi/fantasy and action genres, kept this album in heavy rotation in my stereo ever since its early May release. The film itself may have its flaws, but the score has an honest sense of fun and adventure, coupled with an unbridled energy that makes repeat listenings quite rewarding. As a friend of mine remarked, this is a film score fan’s version of a head-banging heavy metal extravaganza!

A.I. – I was so glad to hear in Williams’ music for A.I. that he is now able to apply his decade-long study in pensive dramatic scores to his previous forte of large-scale backdrops for science fiction films. And along with that, able to draw upon more contemporary orchestral styles, like those of Steve Reich (as has been mentioned in other reviews of the score). The score offers exceptional examples of the majestic heights Williams’ music can achieve (“The Mecha World”), the haunting, lonely sounds of his experimental side (“The Replicas”) and a final touch of his sentimentality (not in maudlin amounts) in the closing moments (“The Reunion”). This will be long remembered in the Williams film score canon.

THE OTHERS – At least once every year, I like to get surprised by a composer I’ve never heard of writing for a film no one expects much from. This year’s best newcomer was also a great find as a director – Alejandro Amenabar. I had not thought about getting the score on disc until I had actually seen the film and I’m glad I waited. I think the score might suffer somewhat on its own if the listener has never watched the austere visuals it accompanies. The main theme is alternately moving in a melancholy fashion (not unlike Chris Young’s delicate work on FLOWERS IN THE ATTIC and HIDER IN THE HOUSE) and spine-tinglingly mischievous (through the subtle use of children’s vocals and sliding string figures). The remaining underscore is refreshingly uncluttered yet brimming with thoughtfulness and intensity. Amenabar’s use of woodwinds in the score is particularly adept.

PLANET OF THE APES – Well, I expected this to end up on my list of favorites for 2001, as soon as I read Elfman would be scoring it. I knew it would be heavily percussive and also make judicious use of his personal sound samples, but the way in which he weaves them all together creates an aural world only Elfman can imagine. While sitting in the theater, I was absolutely ecstatic to watch a full three-minute main title sequence devoted only to a visual montage of ape armour and the mounting tension of Elfman’s score. It was my favorite moment of the film! On album, I find the first third and last third to be the most engaging, as they contain both fuller representations of his main theme and percussion samples (as in “The Hunt”) and the most dramatic expressions of his take on the series’ high-minded concepts (“The Return”). Elfman is still the forerunner in the younger generation of composers.

Feel free to respond with comments!!

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Originally posted by TV's Frank:
Feel free to respond with comments!!

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Alright.

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LORD OF THE RINGS: I heard the great buzz on this, but never thought it could be as emotionally charged and intellectually satisfying as it is. The amount of rich detail and variety contained in Shore’s score is something we rarely hear these days, making one fondly recall all those marvelous 70’s and 80’s sci-fi/fantasy scores of my youth. In fact, Shore’s work can easily stand next to the older classic fantasy scores of Bernard Herrmann (JASON & THE ARGONAUTS) and Jerome Moross (VALLEY OF GWANGI). The vocal elements, solo and choral, provide the most effective moments, but also the dense harmonic structure equally compels the listener through each track, tackling the journey side by side with Frodo, Sam, Aragorn and the others. Truly breathtaking, truly monumental, I hope it is regarded as a classic twenty years from now.

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Well I feel that there is nothing special about Shore's score, It is simple and plain. I have yet to get into the music when I listen to it, theres nothing that grabs me.

Now what you need to do is take your well written comments on Lord of the Rings and replace the word "Shore" with "Rosenman". Because the 1978 score is a masterpiece!

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THE MUMMY RETURNS: Whenever Alan Silvestri really gets his motor running, you can’t help but hop along for the exhilarating ride! That, plus the fact that I am sucker for anything Silvestri composes in the sci-fi/fantasy and action genres, kept this album in heavy rotation in my stereo ever since its early May release. The film itself may have its flaws, but the score has an honest sense of fun and adventure, coupled with an unbridled energy that makes repeat listenings quite rewarding. As a friend of mine remarked, this is a film score fan’s version of a head-banging heavy metal extravaganza!

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Ok I agree with you on this one. As soon as I heard the music during the opening battle scene, I knew I was in for a ride!

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A.I. – I was so glad to hear in Williams’ music for A.I. that he is now able to apply his decade-long study in pensive dramatic scores to his previous forte of large-scale backdrops for science fiction films. And along with that, able to draw upon more contemporary orchestral styles, like those of Steve Reich (as has been mentioned in other reviews of the score). The score offers exceptional examples of the majestic heights Williams’ music can achieve (“The Mecha World”), the haunting, lonely sounds of his experimental side (“The Replicas”) and a final touch of his sentimentality (not in maudlin amounts) in the closing moments (“The Reunion”). This will be long remembered in the Williams film score canon.

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I found founds parts of this score to be very ingenious after a few listens. Williams created the perfect mood for this movie.

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THE OTHERS – At least once every year, I like to get surprised by a composer I’ve never heard of writing for a film no one expects much from. This year’s best newcomer was also a great find as a director – Alejandro Amenabar. I had not thought about getting the score on disc until I had actually seen the film and I’m glad I waited. I think the score might suffer somewhat on its own if the listener has never watched the austere visuals it accompanies. The main theme is alternately moving in a melancholy fashion (not unlike Chris Young’s delicate work on FLOWERS IN THE ATTIC and HIDER IN THE HOUSE) and spine-tinglingly mischievous (through the subtle use of children’s vocals and sliding string figures). The remaining underscore is refreshingly uncluttered yet brimming with thoughtfulness and intensity. Amenabar’s use of woodwinds in the score is particularly adept.

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While this score is rather simple I still find it rather classy, and mature. It was much different than what I had expected. I liked the themes.

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PLANET OF THE APES – Well, I expected this to end up on my list of favorites for 2001, as soon as I read Elfman would be scoring it. I knew it would be heavily percussive and also make judicious use of his personal sound samples, but the way in which he weaves them all together creates an aural world only Elfman can imagine. While sitting in the theater, I was absolutely ecstatic to watch a full three-minute main title sequence devoted only to a visual montage of ape armour and the mounting tension of Elfman’s score. It was my favorite moment of the film! On album, I find the first third and last third to be the most engaging, as they contain both fuller representations of his main theme and percussion samples (as in “The Hunt”) and the most dramatic expressions of his take on the series’ high-minded concepts (“The Return”). Elfman is still the forerunner in the younger generation of composers.

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Well I don't love this one but I admire it because it was really fitting and sounds rather hard to compose. And its so different from usual action scores with the tons of percussion, I think we need fresher scores.

Now my favorite score of the year is still Pavillion of Women by Conrad Pope. I bought it on "leap of faith"(?) without seeing the movie. And I was blown away by its beauty, and powerful tragic moments. I don't think I've gotten any score this year that surpasses the engaging experience while listening to this CD.

I know you couldn't care less about what I think, but you did ask, so...there you go.

NP- Enemy Mine (Maurice Jarre)

As for PLANET OF THE APES, I do realize that many of today's scores overuse percussion and I am not really of those overbearing(cough*MediaVentures*cough!) styles, however, I found Elfman's percussive style more distinctive than normal. There was more variety in the percussion he utilized and he complimented this with a fierce, detailed orchestral backing. I didn't find it similar to the bland wall-of-sound typical in other current action scores.

I also enjoyed PAVILION OF WOMEN, parts of it reminded me of Williams' EMPIRE OF THE SUN, but for some reason it didn't get a lot of repeat listens for me. It is very well done, though, I hope that Conrad Pope can successfully move from orchestrating into full-time composing (as Don Davis did).

Anyway....

1. Harry Potter and The Sorcerer's Stone: This blows it all away I love if you don't love it you are a very strange and unique person.

2. The Mummy Returns: Well this (in my oppinion) is in the top three best scores of the year. Silvestri (in my oppinion) greatly improoves on Goldsmith score the previous film.

3. A.I. Artifficial Intellegence: This is also in the top three scores of the year and is one of the best score by Williams in the last five years.

5. Atlantis: The Lost Empire: A great James Newton Howard score and one that should be sought out. If you liked Dinosuar you should live this one.

6. Planet of The Apes: Danny Elfman's score is perhaps not as thematic as I was hoping for but still is a ver addictive score to listen to.

7. Jurassic Park III: A good score not as good as the original but still is a whole hearted listen and although The Kirby Theme isn't the greatest thing I've ever heard it's a pretty good score.

It's not the top ten but there's the Magnificent Seven.

My favorite HAAAAARRRRYYYY P-O-O-O-O-OTER