Trope

Just listened to this for the first time…
 
It’s absolutely amazing, and a contender for best score of the year. The quality of the music (orchestration, harmony, melodic invention, memorable themes, distinctive compositional voice, etc) all prove Powell to be one of the most accomplished composers working in film today.
 
No joke, I think this is one of his greatest scores (animated or live action). Is it blasphemy to say that it’s a step up from Solo (one of my favourites of his in recent times)? I had such a blast listening to this music. I was never a Powell super-fan, but this score has me excited to go back and re-evaluate his earlier animated works. I eagerly await his next projects.

Just listened to this for the first time…
 
It’s absolutely amazing, and a contender for best score of the year. The quality of the music (orchestration, harmony, melodic invention, memorable themes, distinctive compositional voice, etc) all prove Powell to be one of the most accomplished composers working in film today.
 
No joke, I think this is one of his greatest scores (animated or live action). Is it blasphemy to say that it’s a step up from Solo (one of my favourites of his in recent times)? I had such a blast listening to this music. I was never a Powell super-fan, but this score has me excited to go back and re-evaluate his earlier animated works. I eagerly await his next projects.

I love this passage! Always enjoyed the horn to trumpet transition as the phrase rises at 5:46.
 
There’s a similarly dramatic section he wrote for the trailer, at 3:36.
 
 
 

It's got everything a Powell fan craves from his scores: exciting action, great themes, wholesome moments...
 
I missed this kind of score from him so badly.

Just listened to this for the first time…
 
It’s absolutely amazing, and a contender for best score of the year. The quality of the music (orchestration, harmony, melodic invention, memorable themes, distinctive compositional voice, etc) all prove Powell to be one of the most accomplished composers working in film today.
 
No joke, I think this is one of his greatest scores (animated or live action). Is it blasphemy to say that it’s a step up from Solo (one of my favourites of his in recent times)? I had such a blast listening to this music. I was never a Powell super-fan, but this score has me excited to go back and re-evaluate his earlier animated works. I eagerly await his next projects.

Just listened to this for the first time…
 
It’s absolutely amazing, and a contender for best score of the year. The quality of the music (orchestration, harmony, melodic invention, memorable themes, distinctive compositional voice, etc) all prove Powell to be one of the most accomplished composers working in film today.
 
No joke, I think this is one of his greatest scores (animated or live action). Is it blasphemy to say that it’s a step up from Solo (one of my favourites of his in recent times)? I had such a blast listening to this music. I was never a Powell super-fan, but this score has me excited to go back and re-evaluate his earlier animated works. I eagerly await his next projects.

Just listened to this for the first time…
 
It’s absolutely amazing, and a contender for best score of the year. The quality of the music (orchestration, harmony, melodic invention, memorable themes, distinctive compositional voice, etc) all prove Powell to be one of the most accomplished composers working in film today.
 
No joke, I think this is one of his greatest scores (animated or live action). Is it blasphemy to say that it’s a step up from Solo (one of my favourites of his in recent times)? I had such a blast listening to this music. I was never a Powell super-fan, but this score has me excited to go back and re-evaluate his earlier animated works. I eagerly await his next projects.

A very nice video from 1991 with Williams playing some of "Somehwere in my memory" on the piano and talking about scoring the film:
 
 

It's far from HTTYD, but the themes are amazing and the whole thing is so colourful, wholesome and fun. It's like a JP score for Blue Sky from the 2000s and 2010s. Anyone who likes Ice Age 2-4, Robots, Rio, Horton Hears a Who etc. like myself will find a lot to enjoy here.

I've given this score a second chance after watching the film, and it is starting to win me over. I enjoyed it much more compared to my first listen without the context of the movie, and this time I was able to identify and follow a lot more of the thematic application and development.
 
I actually think this is an extremely intelligent score in how HGW handles his themes (new and old); they are stated everywhere across the score, including very subtle moments in the underscore. Additionally, their statements can be widely contrasting, sometimes to the point of being unrecognisable if you aren't paying close attention. But if you do listen carefully, this score is actually quite a rewarding experience.
 
Finally, it's clear that HGW chose to score this film in a more classic Mickey-Mousing style, so the music is constantly stopping and starting, always following the on-screen action. If that's not something you can handle, it may stop you from enjoying the music as a standalone listening experience.
 
The following are a few moments I particularly like:
 
Molly: Molly's theme can be heard all over this track and much of the rest of the score. This piece is a great introduction to this key theme, and I enjoy all the variations HGW runs it through. I particularly like the setting at 4:05-4:24 - A classic HGW emotional moment. Trucks Are Spotted: The opening of this cue is a lovely re-harmonisation of the main theme.  Funland Farms: 1:33-2:20 features a dramatic statement of what I believe is the Funland menace motif (derived from Mrs. Tweedy's theme). Go Time: I liked the classic heist (i.e. Mission: Impossible-style) elements of the score this time. This is a great track which combines HGW's new heist theme (1:23) with the classic main theme from the first film (which I think works much better now that I've gotten used to it). I appreciate how many different variations and settings of this material are heard in this track alone, and there are more peppered across the rest of the score also. Additionally, the orchestration of the Rocky theme from 2:24-2:36 feels very Powell-esque, particularly the woodwinds.  Roast Chicken: At 0:48-1:22, there's some really clever interplay of the themes for Rocky and the Rats. Followed by an interesting action variation of the Rats theme at 1:40.  Presentation Music: This whole cue is a fun bit of pastiche, with some great orchestration and sneak references to Mrs. Tweedy's theme (in a major key).  An Unexpected Guest: If you want to hear HGW take Mrs. Tweedy's theme into full-blown Bond villain territory, this is the track for you! At 3:13-3:57, he combines it with his new Vertigo-esque hypnosis motif/arpeggio to dramatic effect. There are several fun statements of Mrs. Tweedy's theme in the rest of the score too. Also keep an ear out for more Rocky and the Rats interplay across this track as the film cuts to their shenanigans. Going Back for Frizzle: This is a reprisal of one of my favourite HGW cues from the first film, "On the Roof". It's such a beautiful piece, especially the delicate flute statement of the main theme under the gentle piano and harp at 0:30. These quieter emotional moments are where HGW excels, so it's a shame there aren't many more like this. Ready to Fry, Fry: This track contains a great action version of Molly's theme at 1:50-2:11, followed by a Powell-esque bit of manic action at 2:18. Returning Home: It's great to get a near-straight reprisal of "Escape to Paradise" at 0:37 to close out this film. What a great theme this is, and all the more nostalgic as Chicken Run was one of my favourite childhood films!  
Anyways, thought it would be good to update my thoughts on this score. Hopefully this convinces somebody to re-assess it!

No, no, he's just gonna be doused in blue paint and have his teeth blacked out.

It has given me back my willingness to give it a listen, thanks.

I've given this score a second chance after watching the film, and it is starting to win me over. I enjoyed it much more compared to my first listen without the context of the movie, and this time I was able to identify and follow a lot more of the thematic application and development.
 
I actually think this is an extremely intelligent score in how HGW handles his themes (new and old); they are stated everywhere across the score, including very subtle moments in the underscore. Additionally, their statements can be widely contrasting, sometimes to the point of being unrecognisable if you aren't paying close attention. But if you do listen carefully, this score is actually quite a rewarding experience.
 
Finally, it's clear that HGW chose to score this film in a more classic Mickey-Mousing style, so the music is constantly stopping and starting, always following the on-screen action. If that's not something you can handle, it may stop you from enjoying the music as a standalone listening experience.
 
The following are a few moments I particularly like:
 
Molly: Molly's theme can be heard all over this track and much of the rest of the score. This piece is a great introduction to this key theme, and I enjoy all the variations HGW runs it through. I particularly like the setting at 4:05-4:24 - A classic HGW emotional moment. Trucks Are Spotted: The opening of this cue is a lovely re-harmonisation of the main theme.  Funland Farms: 1:33-2:20 features a dramatic statement of what I believe is the Funland menace motif (derived from Mrs. Tweedy's theme). Go Time: I liked the classic heist (i.e. Mission: Impossible-style) elements of the score this time. This is a great track which combines HGW's new heist theme (1:23) with the classic main theme from the first film (which I think works much better now that I've gotten used to it). I appreciate how many different variations and settings of this material are heard in this track alone, and there are more peppered across the rest of the score also. Additionally, the orchestration of the Rocky theme from 2:24-2:36 feels very Powell-esque, particularly the woodwinds.  Roast Chicken: At 0:48-1:22, there's some really clever interplay of the themes for Rocky and the Rats. Followed by an interesting action variation of the Rats theme at 1:40.  Presentation Music: This whole cue is a fun bit of pastiche, with some great orchestration and sneak references to Mrs. Tweedy's theme (in a major key).  An Unexpected Guest: If you want to hear HGW take Mrs. Tweedy's theme into full-blown Bond villain territory, this is the track for you! At 3:13-3:57, he combines it with his new Vertigo-esque hypnosis motif/arpeggio to dramatic effect. There are several fun statements of Mrs. Tweedy's theme in the rest of the score too. Also keep an ear out for more Rocky and the Rats interplay across this track as the film cuts to their shenanigans. Going Back for Frizzle: This is a reprisal of one of my favourite HGW cues from the first film, "On the Roof". It's such a beautiful piece, especially the delicate flute statement of the main theme under the gentle piano and harp at 0:30. These quieter emotional moments are where HGW excels, so it's a shame there aren't many more like this. Ready to Fry, Fry: This track contains a great action version of Molly's theme at 1:50-2:11, followed by a Powell-esque bit of manic action at 2:18. Returning Home: It's great to get a near-straight reprisal of "Escape to Paradise" at 0:37 to close out this film. What a great theme this is, and all the more nostalgic as Chicken Run was one of my favourite childhood films!  
Anyways, thought it would be good to update my thoughts on this score. Hopefully this convinces somebody to re-assess it!

I've given this score a second chance after watching the film, and it is starting to win me over. I enjoyed it much more compared to my first listen without the context of the movie, and this time I was able to identify and follow a lot more of the thematic application and development.
 
I actually think this is an extremely intelligent score in how HGW handles his themes (new and old); they are stated everywhere across the score, including very subtle moments in the underscore. Additionally, their statements can be widely contrasting, sometimes to the point of being unrecognisable if you aren't paying close attention. But if you do listen carefully, this score is actually quite a rewarding experience.
 
Finally, it's clear that HGW chose to score this film in a more classic Mickey-Mousing style, so the music is constantly stopping and starting, always following the on-screen action. If that's not something you can handle, it may stop you from enjoying the music as a standalone listening experience.
 
The following are a few moments I particularly like:
 
Molly: Molly's theme can be heard all over this track and much of the rest of the score. This piece is a great introduction to this key theme, and I enjoy all the variations HGW runs it through. I particularly like the setting at 4:05-4:24 - A classic HGW emotional moment. Trucks Are Spotted: The opening of this cue is a lovely re-harmonisation of the main theme.  Funland Farms: 1:33-2:20 features a dramatic statement of what I believe is the Funland menace motif (derived from Mrs. Tweedy's theme). Go Time: I liked the classic heist (i.e. Mission: Impossible-style) elements of the score this time. This is a great track which combines HGW's new heist theme (1:23) with the classic main theme from the first film (which I think works much better now that I've gotten used to it). I appreciate how many different variations and settings of this material are heard in this track alone, and there are more peppered across the rest of the score also. Additionally, the orchestration of the Rocky theme from 2:24-2:36 feels very Powell-esque, particularly the woodwinds.  Roast Chicken: At 0:48-1:22, there's some really clever interplay of the themes for Rocky and the Rats. Followed by an interesting action variation of the Rats theme at 1:40.  Presentation Music: This whole cue is a fun bit of pastiche, with some great orchestration and sneak references to Mrs. Tweedy's theme (in a major key).  An Unexpected Guest: If you want to hear HGW take Mrs. Tweedy's theme into full-blown Bond villain territory, this is the track for you! At 3:13-3:57, he combines it with his new Vertigo-esque hypnosis motif/arpeggio to dramatic effect. There are several fun statements of Mrs. Tweedy's theme in the rest of the score too. Also keep an ear out for more Rocky and the Rats interplay across this track as the film cuts to their shenanigans. Going Back for Frizzle: This is a reprisal of one of my favourite HGW cues from the first film, "On the Roof". It's such a beautiful piece, especially the delicate flute statement of the main theme under the gentle piano and harp at 0:30. These quieter emotional moments are where HGW excels, so it's a shame there aren't many more like this. Ready to Fry, Fry: This track contains a great action version of Molly's theme at 1:50-2:11, followed by a Powell-esque bit of manic action at 2:18. Returning Home: It's great to get a near-straight reprisal of "Escape to Paradise" at 0:37 to close out this film. What a great theme this is, and all the more nostalgic as Chicken Run was one of my favourite childhood films!  
Anyways, thought it would be good to update my thoughts on this score. Hopefully this convinces somebody to re-assess it!

LMAO 
 
Zack Snyder Says His R-Rated Director's Cut Of REBEL MOON Is "Almost A Completely Different Movie"
 
Zack the Hack saw the pitiful reviews that his latest crap is getting and now is taking another "Snyder Cut" from his own butt to use as an excuse. He's already setting up excuses and the next grift for his devout cult of imbeciles on Twitter, but will they care now that this is an "original" (lol) project that doesn't have The Punisher Batman and Superman?

Another gorgeous example. You're right, these are exemplary moments of film music.
 
Newman's a genious. I just wish he had the opportunity to write this sort of stuff again.

This is one of my all-time favorite scores and also my favorite movie of all time. The strings starting at 3:30 in this track are so magical. In the film I choke up every time that part happens.
 
 
This is my favorite small track from the film, especially the moment at 0:42 when Andy is driving down the coast of the Pacific. Literal cinematic and musical perfection. I don’t know if we’ll ever get a more perfect movie that everybody can enjoy than “The Shawshank Redemption.”

I know, right? I don't care if this is just an old bag of typical Hornerisms, they remain as effective as ever in moving me.

Johnny Williams will be 145 years young preparing for his 54th return to Vienna.

Some of my most beloved Horner moments of all time:
 
0:31 to 1:08. Horner takes the Deep Impact theme and make it sound very happy and nostalgic. It's kinda like it was describing a happy moment you're enjoying with your loved ones but also adding some hints of sadness and nostalgia that all of these moments will become just memories in the future.
 
 
Speaking of Deep Impact, there's two moments in the final track that are simply amazing. First the crescendo that starts on 4:21 and explodes on 4:40:
 
 
During the end credits, the variation on the main theme for children's choir and orchestra that starts on 7:07 and goes until 7:35 is so positive, so life-affirming, so filled with joy and hope... I love it.
 
 

What I love about Thomas Newman is that he is a master of knowing exactly what to do to extract the biggest amount of emotion of the listener.
 
This cue is an absolute masterpiece of that: it starts with the "Brooks Was Here" theme just for piano and synths and then at 1:50 the audience is surprised with some deeply moving and emotional strings. The Brooks Was Here melody continues but it gets a pensive oboe at 2:47 that climaxes with some of the most touching string writing ever written for any movie.
 
A masterful cue for a masterful score written for a masterful movie.
 
 

I think that Williams at his most Horner is still Far & Away.
 
ROTS is Williams at his most Shore and the wailing woman of Munich is Williams at his most Zimmer.

As for Horner, my top pick would probably be The Perfect Storm (though as others have said, due to Warner that’s not likely to happen), but some others I’d love to see would be An American Tail: Fievel Goes West, Mighty Joe Young, Deep Impact, Bicentennial Man, or We’re Back! A Dinosaur’s Story. Also, I recently saw the film and don’t remember much music that’s not on the OST album, but Once Upon a Forest is a lovely (in my view, underrated) score that I would love to get a definitive release for, from a specialty label.
 
EDIT: Actually, aside from The Perfect Storm, my #1 top pick would probably be Avatar… But again, not likely to happen, in this case due to the AFM reuse fee crap. However, maybe that will change at some point and it will still happen, due to the franchise’s comeback and the popularity of the second film?

Fans of Raiders of the Lost Ark, Temple of Doom and The Last Crusade when someone says that Dial of Destiny is a good Indiana Jones film: