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I just want to say how thankful I am for a forum like this one. It is so amazingly wonderful to know that there are people out there that are as artfully passionate as myself. You guys totally "get it" and I just want to say thank you for coming together. :-)

Maybe Solomon's mines because of the similarity with Indy. I find it pretty hilarious, personally. Goldsmith was either instructed to compose a similar theme or simply ripped off Williams. Monsignor on the other hand, rips off Godfather slightly in a similarly humorous fashion. The movie is supposed to be terrible, so I can assume the dramatic scoring came off as quite ridiculous?

MONSIGNOR is a great score, but it's obviously nominated because of the negative reviews of the film. Personally, I think the film is quite underrated -- despite a few flaws.

I appreciate the acceptance back into the community after my absence. And I appreciate the friendships that have risen from it.

I'd say it's as full of rubbish as the contemporary nominations for best score.

Well, Gloria alone from Monsignor is better than many Academy Award winners, Fame and Midnight Express comes to mind.

Lapti Nek

A very good score by Doyle, one of his best in awhile, enriched by a stirring Celtic melody that could easily have been milked to its last drop but, as has been remarked, has been embroidered into the fabric of the film with surprising care and restraint. The soundtrack bears some weaknesses that mark Doyle's blockbuster stylings (e.g., largely unimaginative action scoring, some of which could probably be interchanged with Howard's contemporaneous Snow White) while avoiding the bombast that at times gets the better of him. (The bagpipes work: they're either source music or defensibly representative of the on-screen tribalistic blustering.) The film is middling Pixar. It never (organically) builds or sustains the kind of delirious energy and momentum that their best work does. The narrative's central relationship is skillfully developed -- mother and daughter are archetypal but three-dimensional, perhaps to the detriment of the male cutouts that surround them -- but the careful craftsmanship is nearly undone by a completely unconvincing appeal to gratingly anachronistic social mores. In context the film is beautiful to look at (in contrast to what I expected from the trailer); Merida's wild, intemperate locks are thrillingly alive.