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Lyrical and expressive animation score by the Danna brothers, blending eastern instruments with western orchestrations and occasional romantic flourishes that give it scope, at least punctually.

'John' wasn't a rare case, he was using orchestrators as part-and-parcel of his composition process from his humble beginnings like everyone else back then did. Only Herrmann (and Morricone, but he doesn't really count) refused them. It's just a matter of schedules and speed. And let's make no mistake, writing in short-hand, establishing a working relationship to another guy who comes in and can translate your particell into a full-blown score is quite a chore in itself.

Nothing, he probably wanted to have his review out early, beating others to it, and didn't really listen to it. Old journalistic rule of thumb: let it lie a day and then look at (or listen to it) a second time. You'd be amazed how much is changed on the second day.

Far behind Under Fire. Though better than the other three.

Let's hope for Willow, finally.

Close Encounters, Star Wars, Superman and Jaws 2 come to mind. I remember catching those bit as a youngster on tv, like the Planet Krypton bits and the finale of Jaws 2, where suddenly snippets appeared that were missing from the album. In Star Wars i distinctly remember a little woodwind flourish in 'Imperial Attack' after 1 minute or so and he edited that out because it went against the big Holst-ian flow, though i always preferred the unedited version more.

He was slaughtered for it ca. 5 million times here and on FSM, so cut him some slack here. We also don't need to single out old Newman or all the other ancient examples that are of a completely different nature - during the old studio system, highly accomplished composers/arrangers helped out their likewise supremely gifted bosses (like Newman), whose job it was to delegate the musical chores of movies or cues within scores to others to get the job done in time. There was no secret about it. As for Horner, during a short phase of his career, ca. 1991 - 1995, he overbooked himself to the extent that he farmed out stuff he didn't care for to highly accomplished composers/arrangers like himself. And of course, with Horner the problem of not giving credit went far beyond not crediting Davis or Pasatieri, he neither did for Britten nor Prokoviev. Crediting just wasn't his. thing, i guess.

It's Jane Campion (and it's a good but not great movie), so lump it into the 'Nextflix prestige' corner paid for by Agents of Shield and Gotham and whatever juvenile shit sells the tickets.

Did, but didn't fancy it much. Greenwood tends to be too esoteric for my tastes, but i appreciate his stubborn intellectual process.

McCreary is certainly in no imminent danger of having to apply for unemployment benefits. Just how interesting it really is *musically* to churn out all this stuff for these never-ending Netflix series is anybody's guess. Everyone who works for big agencies doing a lot of pitches knows how much work even goes into this most unloved chore: preparations, meetings, presentations etc., it must be a chore to having to do all this in addition to what you are really doing, and then all you get out of it is 20 seasons of 'Outlander'.

From the little i heard of 2021's output, these are the scores that at least registered, even if for very different reasons: Power of the Dog Buckley's Chance Dune Venom Cruella Jungle Cruise (i wish The Last Duel was more substantial, but as it is, there's just not much to hang on to)

Why do bizarre names like Picasso or Da Vinci always turn up in topics like this? We are talking about Hans Zimmer, Bear McCreary or Brian Tyler and their slaves here, for christ sake, not sacred legends of the musical artform.

What's more depressing to me is that 99% of it is so bland and devoid of character that i don't even look who's credited. One of the few good things in 2021 was Greenwood's Power of the Dog, even if it's not exactly easy listening, and guess what? He probably wrote it all by himself and you know just by listening to it.

Damage control.

Let me phrase it this way: whenever there's one of those non-descript 9-minute noisy action cues turns up on scores like 'Huntsman', i don't particularly care if JNH or someone else did it. I don't want to listen to it either way. So this whole outrage seems a bit misdirected, it's not like there's loads of brilliant musical stuff credited to the wrong guy. It's more about denying your subordinates proper wages.

Tbh, my real favourite cues were written long before the era of Netflix, so...

Sometimes it improves the track, sometimes it worsens it. But it isn't really a significant factor, really.

Coming closer to clumsily gang-raping it and then let it lying on the street bleeding to death.

And another symphonic score in the true sense of the word.

Since it's unlikely that Williams would hand over his theme to a guy that doesn't meet his seal of approval, it's probably Powell, whom he seems chummy enough with. As for Desplat, i would have at least expected more elegant thematic material - which means i would have gotten at least a few cues out of Rogue One, with MG i don't even have that.

Desplat, finally? London suggests at least a more european choice of composer. But as far as i can see, Powell did nothing (much) last year, so it's probably him.

Lando's Closet (the love theme) is. And many moons ago Edward Shearmur delivered a dead ringer for a Williams love theme in 'Sky Captain'.

I waited for you to say Chris Gordon to wholeheartedly agree with you (unrealistic as the choice may be).

Who has?