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FILTHY SCUM, I'LL COMING AFTER YA`!

BEST DRACULA ENDING EVER! But i agree with the pale green look. I had an old video tape which is long gone, but i still remember some majestic reds and yellows in panorama shots now sadly gone.

And when i just scrolled down my favourite iTunes scores of the last year, the Powell-Zimmer collab of KUNG FU PANDA ranks high. It has those MV stamps, but very tricky orchestrations and longer, well-developed cues, too. How anyone with a penchant for playful scores of yesteryear can listen to this score and isn't able to find one cue which isn't "pure crap" just has no ears.

Are you serious? A lot of it sounds like bloody videogame music and not in a good way. The world music with the high-pitched chanting may be a taste thing but the action music reeks of the BIGGER, FASTER, LOUDER-trailer syndrome. The love theme stuff fares better, but there aren't too many memorable tracks, which is a shame, since Horner was once the king of long flowing score cues.

I suspect a general allergic reaction to the sensitive teutonic pop approach of Hans Zimmer.

Isn't it a bit on the feeble side to ask for a Hans score to satisfy your specific musical needs after knowing perfectly well that the kind of pop-oriented score he is able to produce isn't to your liking? It's just light music without pretensions of a fully fleshed out symphonic work but people always act as if Zimmer was obligated to produce just that...a second PRIVATE LIFE OF SHERLOCK HOLMES. WON'T HAPPEN!!!

Mediocre is the wrong word. It's just square. For every JEWISH TOWN there are numerous leaden I COULD HAVE DONE MORE's which slide happily through all the melodramatic clichés Spielberg originally wanted to avoid. Since little of it survives in the movie, it does not much harm and in case of cited sequence, the sequence itself was the real culprit, Williams only made it worse (the YOU ARE THE PAN sequence from HOOK is a similar howler). As for the original topic, i'd cite PRESUMED INNOCENT, ACCIDENTAL TOURIST and SABRINA.

Can i have THE SHADOW complete if you get your HOOK?

With 60 minutes running time, even Chain Reaction would be a stunner. Maybe not...but with all those overlong releases of functional underscore going on today, those old Jerrys would still pack the punch. And there's so much of this stuff, CONGO, THE SHADOW, EXECUTIVE DECISION, THE GHOST AND THE DARKNESS (for which he had to write and rewrite over 90 minutes). To get back to the topic: INNERSPACE is, as to be expected, a great addition. I still don't understand why the producers do not trim the fat to make the listen more smooth (50, 55 minutes seems more than sufficient) or why Lala-Land still adheres to the unwelcome policy of stitching unrelated cues together (forcing me to re-do it in CoolEdit), but that's minor gripes. The sound is top-notch and the score feels much more rounded and diverse now (western theme á la BURBS, broad love theme). It never struck me that Goldsmith binds the score together by the same thematic basis, a 4 note motif, which acts as hymn for Dennis Quaid and his mission, then as nervous tickly motif for Martin Short's angst-ridden discounter accountant and even the love theme is built from it. Quite like The Mummy, in fact. Synths are prominent, of course, but they are elegantly combined with the huge orchestra and all feels very 'traditional' Hollywood (it's still a music-heavy Spielberg production, after all). Great release, another Jerry-chapter closed.

I don't know, the Goldsmith and Corigliano may be intellectually stimulating music, but i ain't gonna listen to either of them. The Amfitheatrof is just not my kind of music. BUT... Kudos to Varése for releasing stuff which is much more challenging (and a harder sell) than a lot of the fast sellouts of recent months. I know King Mark and cohorts will dismiss it roundly, but someone who desperately wanted this or Crime in the Streets (a brilliant Waxman) knows how much he/she owes to Varése.

Yeah, but it's short on hum-along melodies and strong on concept and motivic development. That's akin to high treason for a lot of fans.

And for a tenth of his usual salary without doubt, to make the transition from Hooper as seamless as possible.

Yeah, and then the constant whining will stop, hopefully. Then let's give them FAMILY PLOT, BLACK SUNDAY and HOOK and let's hope that will put an end to the unfortunate messageboarder habit of bitching about any release which doesn't fulfill their own tiny agenda.

I recently saw the film and it's a fabulous score, with the fox hunt cues being tree-dynamiting stuff. It's all rather melodic despite the genre. The only drawback would be the archaic recording quality.

I thought Horner's score (disregarding it's wonderfully unashamed romanticism on it's won) contributed mightily to the suckiness of the movie. Brad Pitt could've had a hard session on the loo and still would be accompanied by a boatload of yearning strings.

It'll come. I took a liking to Chris Gordon's Mao's Last Dancer which is a dapper version of Memoirs of a Geisha (it's much more western in it's harmonic idiom, though, so it's maybe more easily digested). Of the much lauded Red Canvas i found the 11-minute suite more than sufficient. If you're used to musical drones from recent Soundtrackland it is almost frightening how much musical content is contained therein.

It will be interesting to see if Innerspace will fit on one CD. The boot was short of 80 minutes but rather repetitious, but Dante movies somehow reek of alternate versions. With this, there's only Gremlins I+II and Small Soldiers left for expansion, and possibly Explorers. I damn well hope one of the labels gets Williams's Dracula on the way in 2010, too.

There seems to be a persistent rumor that it will be Gremlins (and if that comes out, Innerspace is a safe bet for next year).

I found a pop version of Williams's Pete'n'Tille. Cheesy, but somewhat charming. Pete'n'Tillie (1973)

Let's hope box office receipts for bad CGI comic films and other teen-oriented mass spectacles continue to diminish. Then Zimmer and others at least have the chance to do more sophisticated work and this would make an "easier transition" for the rest of us.

Whenever Goldsmith's horn fanfare roars through the jungle, all cheesiness is forgotten. And as far as i can remember, he used that theme a lot!

Then Williams has pulled a Horner, because this descending 3-note figure was in Horner's repertoire since Brainstorm. Come to think of it, i can't find any similarity between those two motives...

Kelly's Heroes (which has Eastwood, Savalas and the Tiger tanks) Battle of Britain The Longest Day Bridge at Remagen The Hill (not quite WWII, but great Connery/Lumet flick in desert prison camp) Too Late the Hero

And after seeing Horner in recent interviews, i realized that he does not look too well, rather ragged. Worst case is that he got health problems, best case that Avatar did cost him a lot of professionel sweat. I'm looking forward to the score more than to the film.

For whatever reason i always liked Van Helsing. It's excessive (that bassdrum!) but it's great fun.