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Maybe what you meant is “Big Smelly Crack” in Ice Age 3 😄 But I think it’s different case. All ice age movies, at its core, still carry significance, the first 3 movies especially. So when we hear the music, and imagine with the context, we truly can appreciate it. But yes, i don’t want to jinx this too much, if he produces all Minions-type scores in one year rather than drama heavy live action score (or even no at all), i of course highly prefer the former.

So what can we expect from Powell’s Minions score: > Full of zany-ness, sudden change of mood, and mix-match of styles. Taking from his recent works, we can expect a lot of cues in this kind of style:…. ….which may be not the cup of tea for casual movie score goers, but surely will appease us fans. I just hope this “frantic” Powell leans more on Horton Hears A Who/Robots rather than Ice Age 4/Rio 2. > There will be a lot of playful choir works, this i’m sure. His partner Holly Sedillos will surely be put and twisted to maximum use. > Powell might attempt to redo another classical cue?… that will surely make the original composers roll in their graves 😄 I’m talking about this: > I don’t expect great themes from this. I feel his artistry in making themes starts to dwindle, as proven by his recent works. Still good, but not as great as before. Nevertheless, we can expect many themes; maybe the monster theme, and minions “heroic” theme Overall, i’m sure this score will turn out to be a great piece of music, but there will be no significance to it. He might have written a lush gorgeous ode-to-classic-movie cue, but that to complement minions gibber that ultimately will finish with the word “butt”. Yes, Powell will have fun, his paycheck will be even bigger, and he is getting way richer, and maybe those are the ultimate goals. But i’m afraid Powell will start slipping to B-class movie composer (purely as in category based on the quality of the movies) and he will lose relevance even more.

Truly didn’t see that coming, at all! 😄😄 Minions score, except the first one (the first Despicable Me, I meant), were never truly visible and cared for. What made him interested to take the gig really? Except from what being stated in the Hollywood Reporter article 😉 And I love how the THR article is basically a tounge-in-cheek note by his agent (Kraft Engel) “But he better get a move on as the movie opens July 1.” 🤣 So that’s new, big Powell score coming in just less than 3 months for all of us!

There is a good chance that Powell’s next could very well be Disney’s Hexed, as I just realized the plot is about witches: https://deadline.com/2026/04/hexed-first-look-disney-cinemacon-1236862614/ So it could be the case of “I want the guy who did Wicked” But with minimum Disney track record, it’s also still highly unlikely. It ultimately will end up with regular Disney guy, like Christophe Beck, who also did witches-themed Agatha

Full composer credits. Source: https://portal.gema.de/app/repertoiresuche/werksuche FREEING THE BISON John Powell, Stephen Schwartz BUBBLE John Powell, Stephen Schwartz FIYERO CONFRONTS GLINDA John Powell, Stephen Schwartz, Stephen Oremus SKY MESSAGE - EVEN FIYERO John Powell, Stephen Schwartz, Batu Sener, Markus Christian Siegel BOQ LEAVES John Powell, Stephen Schwartz, Batu Sener ANIMAL EXODUS John Powell, Stephen Schwartz, Batu Sener OZ IS LOST John Powell SISTERLY REUNION John Powell, Stephen Schwartz, Markus Christian Siegel ALL AROUND WWE A John Powell, Batu Sener ALL AROUND WWE B John Powell, Stephen Schwartz ALL AROUND WWE C John Powell, Stephen Schwartz ALL AROUND WWE D John Powell, Batu Sener ALL AROUND WWE E John Powell, Stephen Schwartz ALL AROUND WWE F John Powell, Batu Sener TIN MAN John Powell, Stephen Schwartz, Markus Christian Siegel WEDDING PREP John Powell, Markus Christian Siegel REUNITED John Powell, Stephen Schwartz, Batu Sener CONFRONTING THE WIZARD John Powell, Stephen Schwartz A SECRET DOOR John Powell FREE THE MONKEYS John Powell, Stephen Schwartz POPULAR WEDDING MUSIC John Powell, Stephen Schwartz CAGES AND STAMPEDE John Powell, Stephen Schwartz E CHASES WIZARD John Powell, Batu Sener BETRAYALS John Powell, Stephen Schwartz, Batu Sener, Markus Christian Siegel CYCLONE - ALLEGIANCE John Powell, Stephen Schwartz, Paul Mounsey WITCHES GET SNITCHES John Powell, Stephen Schwartz VISITORS WE CAN USE John Powell, Stephen Schwartz, Batu Sener GETTING WHAT YOU WANTED John Powell, Stephen Schwartz, Markus Christian Siegel GLINDA SUITS UP John Powell E SENDS OUT THE MONKEY John Powell, Batu Sener SURRENDER John Powell, Stephen Schwartz, Batu Sener THE CLOSET John Powell GOODBYES - MELTING John Powell, Stephen Schwartz GREEN BOTTLE REVEAL A John Powell, Stephen Schwartz, Markus Christian Siegel GREEN BOTTLE REVEAL B John Powell, Stephen Schwartz, Markus Christian Siegel THE RISE OF GLINDA John Powell, Stephen Schwartz GLINDA’S SPEECH John Powell, Stephen Schwartz FINALE John Powell, Stephen Schwartz W2 MAIN ON END John Powell, Stephen Schwartz END CREDITS PTA John Powell END CREDITS PTC John Powell END CREDITS PTD John Powell, Stephen Schwartz END CREDITS PTE John Powell END CREDITS PTF John Powell, Stephen Schwartz END CREDITS PTG John Powell For those who care whether Powell worked on the cue alone or helped by his assistant, i hope this is helpful 😊 we can ignore the obligatory Stephen Schwartz credit Interesting there are a lot of tracks that are pure Powell or his team without Stephen Schwartz

Just saw the 5-6 minutes prologue scene in front of Avatar Imax. Showing a glimpse of what happens inside the Trojan horse during the siege to Troy. Well, it looks and feels like Nolan. The intercut between showing what happens inside and outside reminds me of that ship scene in Dunkirk. But it’s still riveting! We also got a peek of Ludwig Goransson score, which sounds like Cristobal Tapia de Veer’s The White Lotus, with its uses of voice. It’s just a very generic Nolan-esque motif, followed by repeated pulse motif that grows louder and faster as the scene goes on. Typical of Nolan and exactly like that Dunkirk scene. And then at the end of the scene, amidst the battle, there appears a figure wearing Batman armour! 😉 We also got a glimpse of Cyclops, which i think is a combination of cgi and real person in make up.

Well, there is a nod to that "Rat Race" choir style, here: choir rat race.mp3 From track "Witches Get Snitches" ^^ This particular section is WILD, freakin love it!

Gotta love these signature Powell "chaotic" moments 😍😍 That what made me fell in love with Powell music in the first place. chaos 1.mp3 From 'Building A Golden Road" chaos 2.mp3 From "Lies In The Sky" chaos 3.mp3 From "All Around The Wicked Witch Of The East" The others Powell chaotic composition for comparison:

Just listened to the whole score 🥺 Wicked For Good is THE BEST SCORE OF 2025! Period. Not only that, The best orchestration, the best use of choir (maybe on par with X-men The Last Stand), the best recording/mix for a John Powell score in the past 5 years! So many highlights! I smiled throughout the score, Powell fan will hugely enjoy this far more than the part one. 'Cages, Chaos and Cake' and 'The Rise of Glinda' are contender for the best tracks of the year. Heck maybe they are among the best tracks from Powell, in the likes of "Building The Crate", "See You Tomorrow", "Mine Mission" etc.

Aaa! This is what i’ve been waiting for! Listening now

Interesting choice. But yeah, if the director wanted composer highly skilled in creating big themes, Newman would logically the last person to approach. Heck even Alan Silvestri, which Levy collaborated in Night At The Museum is more capable, and he already got that ‘classical’ stature. And a lot of talk here putting Newman’s Bond score as a reference or base point is rather baffling. His bond scores are neither really orchestral nor have noticeable themes. The close i could find Newman doing an ‘adventure’ orchestral sound is his WALL-E score << now this is a good benchmark. This track in particular truly screams Star Wars ^^ Granted, this kind of theme is more “dramatic-lush” feel (which Newman excels at) than perhaps SW’s “soaring-uplifting-swashbuckling” feel This track can also be a good benchmark for “action” piece: But honestly, if i can say my wish, and truly sorry for Newman fan and for Thomas Newman himself, I hope he will be replaced by Powell . There is still time 😄😄

Thank you! Yeah, I was really happy that particular cue played really prominently during the sequence, without voice and much sfx. Thank you for clarifying this. I was incorrectly assumed as that cue played during just before the main animal plight sequence

Just saw the movie in IMAX. Powell's score was mixed very good! I approve this mix. And finally, at last, for a Powell movie! The score is indeed way more prominent and truly did quite a heavy lifting, especially in the third act. The action music, as to be expected, is still kinda buried beneath all the sfx, but they sound great, complex, that we've come to know from Powell. Anyway, here i give you glimpses of the highlight of the score. I also put descriptions, but they are not spoiler, i make it as general as possible. And I also have removed all the voice, so it's only music Glinda's New Original Theme by Powell I think I managed to pinpoint this new theme from Powell. This is its first occurrence: glinda 1.mp3 glinda 2.mp3 ^^ tbh, I think it's not truly original. I think Powell is inspired and borrowed some from the motif in Popular song This is the triumphant rendition. A highlight of the score! glinda 3 triumph.mp3 This is the solemn version: glinda 4 solemn.mp3 And this is the epic version! This is one of the top highlights of the score! When the first brass drops, it truly shook the sound system inside the theatre glinda 5 epic.mp3 Animal of The Oz motif As Powell has mentioned, he created motif for the animals. I think this is the one: animal oz motif.mp3 ^^ when I first heard this, I needed to remind myself that i was not watching HTTYD 😄 The "Catfight" Music (Praised by The Director) This music in this particular scene was singled out and praised by Jon M Chu, the director. Based on the interview here: https://www.dailymotion.com/video/x9te4gi "....um, there are things like, um, even John Powell's score in their fight at the yellow brick road, is this, this sort of ballet. And it's, we could have easily gone with comedic music, but he did this really fun. I don't even know what the style of it is, um, that just elevates it....." Here is that music: catfight 1.mp3 ^^ yup, the timpani can be easily heard on a movie theatre is truly a rarity And this one, with truly great trumpet plays: catfight 2.mp3 Morrible's Spell Casting This is also another highlight of the score: morrible spell.mp3 ^^ that woodwind play, love it 😍 Fantastic Choir! Like @tomsmoviemadness has mentioned above, the choir works is truly fantastic! Here are some of the highlight. This one is Elfman-like: choir elfman like.mp3 And this one is really nice: choir 3.mp3 A Nod To Powell's "Romcom" Music That's the first thing that came to my mind when i first heard this; this sounds like PS I'm In Love: powell old romcom.mp3 ---- Truly can't wait for the score release!

The critics reaction for this movie is mixed. The review score is significantly lower than the first movie: RT: 72% (First part: 88%) Metacritic: 61 (First part: 73) Well, there goes the chance Powell nominated again at the Oscar this year ( which is already a slim chance to begin with)

More description of the score release. Powell wrote a couple of new themes for this score! .... He also composed a series of entirely new themes, most notably for Glinda, reflecting her maturity and inner conflict. “Glinda needed more thematic material this time because she has matured since the first film,” Powell says. “Her music had to reflect that growth. One of her new themes reflects her true, magnanimous nature. It gives her a sense of expansiveness and command in her most powerful moments. The other explores lies and doubt. Sometimes it is woven with a light, ornamental touch, and other times it anchors her most pivotal scenes.” .... Elsewhere, he introduced new musical architecture for the Animals of Oz, weaving a haunting passacaglia motif that reflects their ongoing struggle. “It is a theme that always circles back on itself,” he says. “It may seem like it is starting to take shape and move forward, but then it immediately returns to the beginning. That relentlessness and discomfort was meant to mirror the way the Animals are trapped in a never-ending cycle they cannot escape.” .... Source: https://themusicuniverse.com/wicked-for-good-original-motion-picture-score-release-date-set/#google_vignette