Kevin

But no one listens to you Thor, at least not here, and definitely not at FSM. One person voicing their opinion that's opposite to 10 others is not really counterbalance.

And Species, Hellraiser II, The Fly II, The Grudge 2, and The Uninvited. Sure, they're all horror/sci-fi films, but Young's exceptionally talented in the horror genre. I find that Christopher Young's horror scores to be a bit samey after a while if you listen to them in succession. The Hellraiser scores (especially Hellraiser II) is overrated when people praise it as one of the best horror scores ever (more bombast than horror really, and whole section of cues are nothing).

I have selections from 4 scores of his - Frailty, Godsend, Timeline and Rambo. He has a generally good grasp of the orchestra, but his themes don't really work for me. Children of Dune is unmemorable to me. You should try his non-action scores (yes, he writes those too). I recommend: -Darkness Falls -The Killing Floor -Bubba Ho-Tep -The Lazarus Project

I've always enjoyed his Holes score...but other than SOTE and Holes, meh. Even Lover's Prayer? I'm not the biggest Kamen fan either. He had a distinctive style and could write a good/great theme, but his scores were usually pretty bland.

Explain.

Joe Hisaishi - I really only like Ponyo on a Cliff by the Sea with its upbeat manner. It sometimes speaks to me more than the other scores (plus there's very little action/dark stuff in it, which I don't think that Hisaishi can do very well). I've listened to various other scores by him, like Princess Monomoke (great main theme but terrible action), Spirited Away, I Want to be a Shellfish (alright), Howl's Moving Castle (mono-thematic) and Departures (not bad).

I'm a casual fan of Carter Burwell. I think his three best scores have been Conspiracy Theory, Miller's Crossing and True Grit. But there's more of his career that I need to explore. My favourite score by him is Conspiracy Theory, for sake of how ridiculously enjoyable it is. And the 'End Titles' cue from Miller's Crossing is very lovely with how it interpolates the folk tune into the orchestra. http://www.youtube.com/watch?v=uv1MHTP8_YU

Lawyers Gone Bad - a non fiction book about all the biggest scandals involving lawyers in Canada in the past 25 years.

I think the worst thing about this place is the regularity in which topics get off-topic fast.

I've been meaning to watch the whole of Deep Space Nine for the past six months, but alas I still have not gotten around to it!

Robot Jox:

It seems like you have a personal vendetta against Zimmer, who frankly didn't do anything too different when he first started composing. Hell he got all his ideas from Morricone and Stanley Myers. Blame them. Can't find the words to say how I feel about the change that man brought to the film music world. He is not solely responsible but he has a huge part in shaping music for films the way it is today. Do you honestly think that he planned that modern film music would turn out this way? He just loves what he does. Remote Control/Media Ventures was basically intended to be like Apple when the Beatles first made it.

Hey you, get back to work!

Actually Mark Mancina is better for writing for orchestra than Hans Zimmer. If you listen to various Mancina scores like Speed 2 and Twister.

You know everyone lies on the internet, it's common fact. You can't tell when people are lying or not. But when it is found out that people are lying, the results can be hilarious. My example is from MovieMusicUK's message board from a while ago. I was a guest at the time (not a registered member) but it was comical that this person lied about being Marc Shaiman's protege and people quickly found out that the person was full of it. I feel sorry for the schmuck who believed him in the first place. This example might be a little old but I still think it can be relevant. http://mmuk64.proboards.com/index.cgi?action=display&board=general&thread=3452&page=1 (Some of you may have seen this already).

I strongly disagree. Great composers don't need classical music or its history. Name me great film composers that haven't. By classical music, I'm not talking strictly about the classical period. But romanticism, baroque, impressionism, nationalism, expressionism, primitivism, neoclassicism, serialism, minimalism etc... And countless more. You know that professional classical composers and musicians wouldn't want to touch film music with a 10 foot barge pole.

Just so everyone knows when I rate a score: 5 Stars = great 4 Stars = good 3.5 Stars = decent 3 Stars = average 2 Stars = meh 1 Stars = poor

I can speak from personal experience that some people just want to lie about their career and who they know, just to make themselves seem important.

Copernicus' Star - Abel Korzeniowski A somewhat lightweight fantasy score with a number of highlight moments; it's a pleasant 45 minute listen.

Broken Arrow and Peacemaker = Crimson Tide 2.0

12 CDs... Not thanks, I barely ever want to buy something with more than 1CD included.

Because he writes lifeless generic sounding music and he's now sucked JNH into his void. As I said earlier, he's not the only one to blame. But his style and stable of composers has contributed to it. If you were aware of his works in the early 1990s, you might change your mind. I did listen to Zimmer in the early 90's. Humor and sarcasm are often lost on people here. You didn't like any of his non action scores -Driving Miss Daisy -Rain Man -Fools of Fortune -Pacific Heights -Green Card -A League of Their Own -Radio Flyer -Beyond Rangoon -The Lion King -K2 -Calendar Girl -The House of the Spirits -I'll Do Anything -As Good As It Gets -Point of No Return -Thelma & Louise -Regarding Henry -Power of One -The Prince of Egypt None of that impressed you slightly?

Listen to Steamboy, then come back.

I was the biggest Thomas the tank engine fan when I was a kid (still am a bit less though, they've gone CGI on Thomas too now and replaced the opening theme). Old: New:

This isn't FernGully!