thestat

All we need is Walton Goggins - the biggest star to be. He is going to break out with Fallout. God he is good. Have you seen the Shield (arguably the Wire that did not win Emmys but was as good)? Goggins is beyond belief in that role. Watch Fallout, love Goggins - you will.

Seriously, What Lies Beneath. It has 7 minutes of very excellent listenable score all included on the 2000 album. The rest is Silvestri strings sustaining themselves....scraping the barrel.

Curious - is there any evidence of the supposedly more 'orchestral' score Kamen did for this? The whole thing is obviously very un-Kamen, reserved, synthetic. I have no interest in getting the LLR release since I never made it through K-MANs first album. But is there something to appreciate? Or does it remain a terrible mismanagement example? Jesus, if they let MK free to score this, what would that be like!

One of those legendary ELF scores with all his trademarks - completely underappreciated. The film is amazing as well - do ignore the Morgan Creek one that is the 98 min version. The Barker cut is truly amazing, one of the first honestly big budget LGTBQ films ever. Very innovative and challenging in its politics that I am very happy that Elfman amplified extensively! It does not make sense to have Cronenberg play his role in the MC cut - the longer cut, you know why he accepted the role.

There is never enough Species - such a fantastic score. It is unbelievable that this was unreleased back in 1995. I remember scouring every shop for it (yes, kids, we did not have the internet back then), and only finding Randy Edelman comedy scores for Beethoven 25 or something. WTF!

Wow. Is this great or what? Young is blasting out career-best work left and right. Movement 1 is brilliant, truly capturing Young's melodic skills and detail in orchestration and, especially, his ability to play with horror tropes - but then the last 4 minutes from 8:00 are a brilliantly dark fable with children's choir and all the best Young orchestral tropes at full display. I love the fact that he ends the movements with that crazy blast of mayhem! Movement 2 is another encapsulation of a magnificent career that keeps escalating into stratospheres - the detour at 4:10 is touching and epic. Makes me wonder what Young would have done with The Lord of the Rings. Movement 3 is very impressive, very much Young exploring horror tropes and going very Goldenthal at times. It is now wonder he has had such a fan resurgence recently. We all know what he does so well. It is fantastic to see producers funding him to do this. I mean, The Empty Man is a great film but it was a massive flop. The Young score, again, is fantastic. So happy I supported the Nosferatu incentive!

Chris Young is a god amongst men. I can't wait to hear The Piper and Nosferatu in full, having pledged £70 on Nosferatu. The Piper seems wild - but that is good. Very recent:

Actually liked Dead Reckoning and its score, despite my misgivings about Balfe as a non-composer. Interesting when checking this score list that Joshua Pacey seems to be the one in charge of a lot of the great action stuff in the film. Anything credited with the fantastic stuff at the airport etc comes down to Pacey - I reckon a lot of this is Pacey, especially the string figure that comes in at about 0:59.

Perhaps there is some Rachmaninoff influence - I feel it, don't see it. But hey, that's classically trained film composers. Balfe's reference points are Esquire Trevor Jones from 1992.

Totally agree with EdMilson here - Franglen totally pulled this off. Yes, it's not Horner but then again what is? The end of Knife Fight is fantastic action music up there with James or Don Davis in their 1990s heyday with snares and pianos and all manner of mayhem and I am just glad that someone does this sort of work nowadays!

Oh wow. Sorry for you. I hope you have at 30 people writing your posts from now on. And you need to make sure you don't rock the boat - the middle aisle, all the way, no emotion, pure instrumental functionality. ie, nothing.

Thank you - this was my point. The guy was everywhere at the time. There's a lot of these composers that I hated or disliked at times, due to, well, just me being an immature shit that did not understand industry: Examples: Hated Mark Mancina for a year because his Assassins score was weirdly subdued with no melodies or bombast and lacked the Speed and Bad Boys awesomeness - soon to be rectified with Twister. Love/hate with Jerry Goldsmith - 95-97 were rough times for JG fans. He was doing his Stuart-Baird-Refrain (as another mind put it on FSM) for everything, culminating in Chain Reaction where the action was the SBF. River Wild in 94 was terrible and lazy, The Shadow was brilliant and innovative, as was Bad Girls. JG was unbalanced. City Hall is, and remains, a lazy arse Bernstein score as does LA Confidential, no love for these two. But then JG recovers with perhaps the help of the HiJacking from Air Force One, and everything from Mulan to 13th Warrior is fully brilliant.

Dude, totally agree, but the first True Detective broke up the standard on TV crime so was expecting this to do something similar especially with Foster and her reputation, but hey fucking ho, not too bothered if it's a Scandinoir for the non-reading lot. Just expected the brand to aim higher which they will probably do.

What, as in 'let's announce the BBC newsreporters', with a bit more brass oomph but a lot more piano cheese! Kamen's always been a chap that has traversed the line with being a ridiculous character and an amazing icon.....the hair, the beard. I love him, but that is just me

The Davis promo is the one with Eye of the Pyramid, but I guess I will just shut up now as clearly no-one wants to trench up this stuff .....but I do like your acknowledgment of additional music on Die Hard 2. So, does the database function from mostly late 90s when Zimmer started to bring up his co-composers and they got ASCAP credited or is it something else? I'm not seeing much info there on anything pre-1998 outside of the obvious names