What Is The Last Score You Listened To? (older scores)

[Naïve Old Fart 13,045]

1 minute ago, Edmilson said:

What do you think about Glass's Notes on a Scandal? Is it a good score? I listened to a bit of Glass last year and was considering diving more into his work. Notes on a Scandal, even moreso than The Illusionist, seems more interesting to me.

I like it, and I like the film.

[filmmusic 3,281]

2 minutes ago, Edmilson said:

I listened to a bit of Glass last year and was considering diving more into his work

Have you listened to this?

 

It's my favorite of his, although I admit I haven't listened to a lot of scores by him, and I may be a bit biased by the film too, which I adored.

[Jurassic Shark 16,446]

14 minutes ago, Edmilson said:

What do you think about Glass's Notes on a Scandal? Is it a good score? I listened to a bit of Glass last year and was considering diving more into his work. Notes on a Scandal, even moreso than The Illusionist, seems more interesting to me.

 

I haven't been able to get properly into Notes, but it seems highly rated.

 

Start with The Hours, The Illusionist, Mishima, and Naqoyqatsi, all very good and accessible scores. 

[bollemanneke 4,332]

The old man and the gun. Another album that just refused to end.

[filmmusic 3,281]

 

Wow! Color me surprised!

I wondered, listening to this very good score - actually more than good, how I didn't know of this composer!

And then I find out he had composed only 2 film scores, and he's not mainly a composer, but a film director! 

And the director of the film in question at that!

I had seen this, and I remember liking it quite a lot (waiting for the semi-announced UHD to buy it), but I didn't remember the score.

While it doesn't reach levels of greatness, and it hasn't got any easily remembered themes on first listen, it has good ideas and a very competent way of presenting them (eg. the orchestration).

Of course, this must have sounded like an average score back then, among the giants and the great scores of the 80s, but it was very refreshing to hear it now, when you know what's out there!

edit: Oh, as I read in the liner notes, he had someone else turn his synth score to an orchestral one, John Massari.

[Mr. Hooper 9,004]

[Jurassic Shark 16,446]

Tell me it's good as I ordered it.

[Mr. Hooper 9,004]

5 minutes ago, Jurassic Shark said:

Tell me it's good as I ordered it.

You can't go wrong for $5!

[Stark 1,028]

Miles Goodman was a magnificent comedy composer, tragic we lost him so young and so little of his music can even be listened to

[Kasey Kockroach 2,747]

Lady in White is an awful score that sounds amateurish on a Giacchino level, and it fits the terrible though intriguing movie. 

 

I bought Dunston Checks In eons ago and still haven’t listened to it. I have Muppet Christmas Carol too, but I recall there’s not much score on that album. 

[Andy 7,744]

7 hours ago, filmmusic said:

 

Wow! Color me surprised!

I wondered, listening to this very good score - actually more than good, how I didn't know of this composer!

And then I find out he had composed only 2 film scores, and he's not mainly a composer, but a film director! 

And the director of the film in question at that!

I had seen this, and I remember liking it quite a lot (waiting for the semi-announced UHD to buy it), but I didn't remember the score.

While it doesn't reach levels of greatness, and it hasn't got any easily remembered themes on first listen, it has good ideas and a very competent way of presenting them (eg. the orchestration).

Of course, this must have sounded like an average score back then, among the giants and the great scores of the 80s, but it was very refreshing to hear it now, when you know what's out there!

edit: Oh, as I read in the liner notes, he had someone else turn his synth score to an orchestral one, John Massari.

Frank LaLoggia filmed this in my neck of the woods. He filmed his first feature Fear No Evil right in my hometown. I remember the production happening when I was about 8 or 9 years old.  He shot part of it at what would end up being my daughter’s middle school. 
 

Anyways, if you like this score, give his Fear No Evil a try. It’s way better than it has any right to be. Debut low budget schlocky horror film, BUT LaLoggia dreamed big and swung for the fences. He had help on Fear No Evil from orchestrator David Spear who worked quite a bit with Elmer Bernstein, so it does have a certain sound. I can’t say it sounds like Bernstein, but it has some decent melodies and textures, especially for a horror film of its kind. 
 

2 hours ago, Kasey Kockroach said:

Lady in White is an awful score that sounds amateurish on a Giacchino level, and it fits the terrible though intriguing movie. 

But it should sound amateurish, because he was an amateur. It’s only his second film score, for his second film. When you consider what LaLoggia had to work with, and his grass roots auteur approach, it’s a damn fine film and score, and an impressive start for a very short filmography. Comparing it to Giacchino, THE mainstream composer of today, seems unfair. 
 

Oh, and LaLoggia is currently living in Italy and is a hell of a nice guy who is happy to talk about his films with anyone. 

[Kasey Kockroach 2,747]

It’s been ages, but I remember the bit with the nuns walking in being scored by a choir, for no other reason than because there are nuns on-screen. Was having nun of that!

[Yavar Moradi 4,416]

On 16/5/2026 at 5:35 AM, Jurassic Shark said:

Yup, still a great score. 

 

Still my favorite Philip Glass score (for film or otherwise!)

 

Yavar

[Edmilson 12,393]

Some scores I've listened to over the past few weeks:

 

Maurizio Malagnini - Peter & Wendy (2015)

 

Late 2015 brought us two great Peter Pan scores: John Powell's Pan and Malagnini's Peter & Wendy. At the time, I liked Malagnini's better, but revisiting the two of them recently, a decade later and as a more experienced Powell conoisseur (did I spell it right? hehe), I appreciated Pan a lot better. Which doesn't mean Malagnini is that much worse.

 

I didn't really care for the usual kid fantasy/childhood wonder/adventure parts of the score, as those have been done better elsewhere. But the emotional parts are great. Just brilliant stuff all around. My favorite moments of the score, they remind me of what made it one of the best of 2015, in my opinion, back in the day.

 

Le Comte de Monte Christo - Jérôme Rebotier

 

Mom was watching this French movie from a couple of years ago adapting the classic Alexandre Dumas novel on the other day. I didn't stop by to see it, but from what I could listen from the TV, the score seemed interesting.

 

So I tried it and... eh, it's not that good. When I pressed play and the first track began with Gudnadottir Joker dark and disturbingness before transitioning into Zimmer-esque action (with BAAAAUMS galore), I thought "oh boy, one of those scores where producers had the composer replicate every modern film music trend from its temptrack".

 

Fortunately, the rest of the score isn't that bad or annoying. The album is very long, and occasionally it dives into generic RC stylistics, but it does have some decent tracks here and there. Wouldn't recommend it to 95% of the members of this forum, though.

 

Mildred Pierce - Carter Burwell

 

It's Burwell, so mostly chamber music that seems weirdly devoid of emotion... Also, the OST has plenty of source music in the middle of the score. For those who, like myself, like to stay clear of the source music while listening to an album, programming this one is a bit of a chore.

 

Ice Age: Dawn of the Dinosaurs - John Powell

 

Perhaps the best Ice Age score by Powell? Though I do need to revisit the fourth one. Some terrific action music in here, I love how intense, dense, and complicated it gets, especially for a cartoon geared at small kids. My only complaint is that some tracks are annoyingly short.  Some of them inexplicably weren't combined into longer tracks. 

 

The Hunger Games: Mockingjay Part 1 - James Newton Howard

 

Wow, this is even better than I remembered! Just a brilliant score all around, probably the best from Howard's Hunger Games Saga. I love the powerful, dramatic heights it gets, creating an atmosphere of tragedy, loss and war, but without being too drab or without emotion. It's sheer melodrama. 

 

The Mockingjay is probably one of the best themes Howard ever wrote (though it has to be noted, it was written not for this movie but for the previous one, in The Tour). I love how it encapsulates Katniss's messianic status, with all the weight over her shoulders, how lonely such mission makes her, and how painful it is for her, while at the same time showcasing her strength in becoming this new messiah.

 

Not a single weak spot in the OST, maybe aside from a little modern sounding action tracks, but definitely less annoyingly chaotic and violent than in other moments in the series.

 

Notes on a Scandal - Phillip Glass

 

I love orchestral scores for psychological thrillers/dramas. I love when orchestral melodrama or even suspense/thriller music conventions are used to portray psychological instability, repressed feelings, tension, repressed sexuality. 

 

This one didn't disappoint me in that regard. It starts pretty light and nice, almost like an Alexandre Desplat score for an Oscar-bait, but by the end, it morphs into this dark, nasty orchestral chaos and violence. Made me curious to see the movie, I'm sure I'll appreciate even more when I see the context.

 

Very Glassian, though, some passages were lifted straight from Koyaanisqatsi, which I did listen to quite a bit last year.

[tomsmoviemadness 4,851]

41 minutes ago, Edmilson said:

Ice Age: Dawn of the Dinosaurs - John Powell

 

Perhaps the best Ice Age score by Powell? Though I do need to revisit the fourth one. Some terrific action music in here, I love how intense, dense, and complicated it gets, especially for a cartoon geared at small kids. My only complaint is that some tracks are annoyingly short.  Some of them inexplicably weren't combined into longer tracks. 

 

 

I love all 3 of his Ice Age scores, but do feel the albums of 2 and 3 don't help. Powell was in that weird spot back then where most of his album were long tracks chopped up on the album. Still don't why he did that.

 

But  Ice Age 3 of course has the great new theme for Buck and I believe that Battles is one of the best action tracks Powell every wrote.

I also really love 4, especially in tracks like Schism, Pirating The Pirates & Land Bridge Trap. 

[Naïve Old Fart 13,045]

RETURN OF THE JEDI.

You see, @filmmusic, some of us still listen to John Williams 

My favourite Star Wars score, from my favourite Star Wars film.

[Kasey Kockroach 2,747]

3 hours ago, tomsmoviemadness said:

 

I love all 3 of his Ice Age scores, but do feel the albums of 2 and 3 don't help. Powell was in that weird spot back then where most of his album were long tracks chopped up on the album. Still don't why he did that.

 

But  Ice Age 3 of course has the great new theme for Buck and I believe that Battles is one of the best action tracks Powell every wrote.

I also really love 4, especially in tracks like Schism, Pirating The Pirates & Land Bridge Trap. 

It was a way to get around choir fees, iirc. The alternative would’ve been to remove the choir.

 

I fixed that and melded a lot of cues ages ago. Remove the source music too, and you have 21 tracks/64 minutes and you can pretend you’re listening to a Powell Jurassic score! 

[tomsmoviemadness 4,851]

1 hour ago, Kasey Kockroach said:

It was a way to get around choir fees, iirc. The alternative would’ve been to remove the choir.

 

I fixed that and melded a lot of cues ages ago. Remove the source music too, and you have 21 tracks/64 minutes and you can pretend you’re listening to a Powell Jurassic score! 

That's awesome! 

 

And it sort of is a Powell Jurassic score really hahahaha

[Kasey Kockroach 2,747]

Meltdown’s probably the best of Powell’s trilogy, but DotD is the one I put on the most because it’s as close as I’ll get to Powell Jurassic.

 

Such a shame, he would’ve provided a theme worthy of her. Kersplat’s leaves me content enough at least.

[CinderTech 1,813]

 

His blockbuster scores would be absolute slam dunks if the connective material in any of those sounded anything like this. If that seems hard to picture, just think akin to Amazing Spider-Man 1.

[CinderTech 1,813]

[Matt C 605]

The Piper - Christopher Young

 

Some of the brass and flute percussive lines that I loved so much in Spider-Man 3 is present in the concerto movements, along with some heavy throwbacks to The Grudge, Hellraiser, and Drag Me to Hell in the score suite. It’s definitely one of Young’s best recent horror scores.

 

And I wish Raimi would work with him on another studio film!

[Andy 7,744]

 

Elmer Bernstein- Big Jake 

Even a middle tier Western score by Bernstein is proof positive that he was the best in the business at that genre.  Magnificent 7 may be his best Western Theme (although Sons of Katie Elder gives it a run for the money), but I found Big Jake to be a solid listen start to finish, just as much as Mag7. 

[Kasey Kockroach 2,747]

Worse than the check engine light is when your car says:

[bollemanneke 4,332]

Listened to the first half of Hamnet. (From the motion picture Hamnet), if anyone was curious, because I wouldn't want you to think I was referring to the Pizzeria Hamnet, the Bank Hamnet or the Motorbike Hamnet. Which IDIOT voted this into the Classic FM Hall of Fame? Massage music at best.

[CinderTech 1,813]

[CinderTech 1,813]

[Mrdoggo 28]

The Devil Wears Prada 2 by Theodore Shapiro.

 

Its (obviously) not the kinda work that would show up in here (and i doubt many of you even watched the film lol) 

 

But i say this with all of my soul: it is surprisingly great. Nowadays when a sequel comes many years after the original, directors and studios will scrap and ignore most of what is considered remarkable, (see Matrix Resurrections and Don Davis). 

 

I think Theodore Shapiro did so much;  many homages and arrangements of fun and even lovely tracks of the first film, he clearly holds it dearly to his heart. 

 

But what amazes me more is that (IMO) there is a surprising lot of depth into his compositions, there is a lot of character and event themes (quality ones too, not just akin to Nicholas's Order of Phoenix motifs) and what is interesting is that these are mostly from the first film, but thats the cool part: it connects it so well to the first film you actually feel like Shapiro has put more thought into it than a lot of fantasy film compositions lmao.

 

A high point to me was a certain scene with Irv and a motif from the first film called Christian and Andrea (i wont go into detail because its plot important) but it really warmed my heart to see it rearranged 20 years later.

 

Despite not being THE film the first one was (which was impossible) everyone seemingly gave their hearts to the production, and Theodore was amongst them, for sure :) 

[tomsmoviemadness 4,851]

8 hours ago, Mrdoggo said:

The Devil Wears Prada 2 by Theodore Shapiro.

 

Its (obviously) not the kinda work that would show up in here (and i doubt many of you even watched the film lol) 

 

But i say this with all of my soul: it is surprisingly great. Nowadays when a sequel comes many years after the original, directors and studios will scrap and ignore most of what is considered remarkable, (see Matrix Resurrections and Don Davis). 

 

I think Theodore Shapiro did so much;  many homages and arrangements of fun and even lovely tracks of the first film, he clearly holds it dearly to his heart. 

 

But what amazes me more is that (IMO) there is a surprising lot of depth into his compositions, there is a lot of character and event themes (quality ones too, not just akin to Nicholas's Order of Phoenix motifs) and what is interesting is that these are mostly from the first film, but thats the cool part: it connects it so well to the first film you actually feel like Shapiro has put more thought into it than a lot of fantasy film compositions lmao.

 

A high point to me was a certain scene with Irv and a motif from the first film called Christian and Andrea (i wont go into detail because its plot important) but it really warmed my heart to see it rearranged 20 years later.

 

Despite not being THE film the first one was (which was impossible) everyone seemingly gave their hearts to the production, and Theodore was amongst them, for sure

 

I very much agree! I especially love the track Lava. Beautiful melancholy and that solo at the beginning is beautiful. And I really love the big reprise of the big theme in thd final track.

[crocodile 9,746]

I was listening to the three Fantastic Beasts albums the other day. James Newton Howard's fantasy scores are bit frustrating for me because there's a lot to like about them but they rarely ever come together in a convincing whole package. It's really disappointing because in individual moments he really shows glimpses of greatness. Having said that, the first one of these is actually pretty nice and the themes established, while not exactly of Williams calibre, really stay with me. And I have to say that one statement of Hedwig's theme in the third score is actually very well done. Very nice blend of two composers' styles. Overall, it's all pleasant but meanders a lot.

 

Karol 

[CinderTech 1,813]

[Andy 7,744]

 

"InnerSpace, No One Can Hear You Drown"

 

Leviathan is pretty cool, actually. It isn't talked about much because of the film, and also because it's Jerry assembling techniques and styles from other films like ALIEN, Poltergeist, and, quite wonderfully, Innerspace. The horror and suspense elements are well done, and balanced by some lighter heroic material. At 40 minutes, it's just right. I'm almost not used to a quick and refreshing OST that isn't a chore get through. And yes, every reviewer is correct about the last track being like the End Titles to the Swarm. An upbeat, jubilant composition that only Jerry Goldsmith could write.

 

 

Elmer Bernstein - True Grit

 

For a title like that, you'd expect a more rugged sounding score. This is maybe Bernstein's most lyrical Western. Quite literally, as the songs are lovely too. I've not seen the film, or the remake. I should fix that. This is a beautiful score I listened to two days ago, and the melody is still in my head.

[Kasey Kockroach 2,747]

13 hours ago, crocodile said:

I was listening to the three Fantastic Beasts albums the other day. James Newton Howard's fantasy scores are bit frustrating for me because there's a lot to like about them but they rarely ever come together in a convincing whole package. It's really disappointing because in individual moments he really shows glimpses of greatness. Having said that, the first one of these is actually pretty nice and the themes established, while not exactly of Williams calibre, really stay with me. And I have to say that one statement of Hedwig's theme in the third score is actually very well done. Very nice blend of two composers' styles. Overall, it's all pleasant but meanders a lot.

 

Karol 

Lady in the Water is all you need when you require a JNH fantasy fix.

[BloodBoal 8,716]

2 hours ago, Andy said:

Elmer Bernstein - True Grit

 

For a title like that, you'd expect a more rugged sounding score. This is maybe Bernstein's most lyrical Western. Quite literally, as the songs are lovely too. I've not seen the film, or the remake. I should fix that. This is a beautiful score I listened to two days ago, and the melody is still in my head.

 

Both films and scores are really good, though of course in different ways.

 

The score for the remake is unsurprisingly much more restrained but nonetheless very enjoyable (Burwell always the reliable composer). Just don't go in expecting something like the excellent The Pace that Kills / A Ride for Life.

 

As for the films, my preference goes to the remake (Bridges is a better fit for Cogburn, and Hailee Steinfeld also offers a better performance as Mattie) but the original is definitely a solid film and well worth watching.

[CinderTech 1,813]

[Edmilson 12,393]

14 hours ago, crocodile said:

I was listening to the three Fantastic Beasts albums the other day. James Newton Howard's fantasy scores are bit frustrating for me because there's a lot to like about them but they rarely ever come together in a convincing whole package. It's really disappointing because in individual moments he really shows glimpses of greatness. Having said that, the first one of these is actually pretty nice and the themes established, while not exactly of Williams calibre, really stay with me. And I have to say that one statement of Hedwig's theme in the third score is actually very well done. Very nice blend of two composers' styles. Overall, it's all pleasant but meanders a lot.

 

I'd say the only one who actually meanders is the third one. The second, on the other hand, despite being written for a truly dreadful movie, is my favorite JNH "blockbuster" score of the past 10 years. It's wonderful, and in the upper echelons of Potter music. Sadly for me, it's the one with the least complete album out of the saga 

[filmmusic 3,281]

 

Perhaps it's because I listened to the sessions, but this was one of the most tiring scores I've ever heard!

Well, this constant homophonic epicness, which sounds like music composed in a pc software with samples, and then transcribed for live instruments, may have been good for Gladiator, and reached some high level there, but it's not always ideal.

I'd like to hear some distinctions here and there, between different groups of instruments, but I heard in its place the same sound all over..

[1977 2,138]

23 hours ago, Andy said:

 

"InnerSpace, No One Can Hear You Drown"

 

Leviathan is pretty cool, actually. It isn't talked about much because of the film, and also because it's Jerry assembling techniques and styles from other films like ALIEN, Poltergeist, and, quite wonderfully, Innerspace.

 

You had me at Innerspace. Love that score.

[crocodile 9,746]

 Looking for Richard by Howard Shore. This film/documentary directed by Al Pacino wasn't really scored in a traditional way, according to the liner notes, and it is presented as a collection of musical suites revolving around specific historical figures in Shakespeare play. Not so much a film score as it is an oratorio of sorts. Really good, if somewhat gloomy, album with nice choral work.

 

Karol

[Andy 7,744]

 

2 hours ago, 1977 said:

 

You had me at Innerspace. Love that score.

It’s obviously not comedic, but some of the action cues have that Innerspace chase feel both in the synth and the writing.  Jerry is good at balancing out the lower register action with either pizzicato or some light weight woodwinds.  One cue could’ve easily been an extension of the bicycle chase cue from “Gas Attack”. I liked it a lot. 

[crocodile 9,746]

Wish they could re-release this one.

 

Karol

[Andy 7,744]

My impression is that the sonics could be improved a bit, but on the other hand, I forgot how 40-45 minutes is the sweet spot for a program. That said, yes id absolutely get an expansion. Isn’t it MGM? What’s holding it up?

[Yavar Moradi 4,416]

The complete session tapes are held/controlled by the Italian company Filmauro, which is apparently uncooperative. Hopefully it gets worked out someday; I’d love to have the missing 20 minutes which would actually add some variety to the program:

https://www.filmscoremonthly.com/community/general-discussion/110196-leviathan-goldsmith-complete-score-breakdown/#post-1632874
 

I think it’s actually a really underrated and enjoyable score.

 

Yavar

[crocodile 9,746]

 Hamlet by Dmitry Shostakovich. I absolutely love this score, the dry and direct composing style of Russian master is a perfect fit for Shakespeare. It's a really good listen from start to finish.

 

Karol

[Andy 7,744]

“Go to Hyperspace!”

 

John Barry - Star Crash

I love this little score. The theme is as good as any of Barry’s later Bond or romantic themes.  It’s lovely. The action music heard in “Escape to Hyperspace” and “Space War” (what a track title!) is just so wonderfully Barry. It’s actually a secondary theme, a long lined melody marching along with that great xylophone percussion he so often employs.  
 

 

John Barry - From Russia With Love

Couldn’t wait for an expansion, so I gave a listen to this one I wasn’t familiar with.  It’s cool to hear the Bond sound being established.  “James Bond With Bongos” is a real banger, a nice alternative arrangement of the James Bond Theme.  The real standout is “007” and “007 Takes the Lektor”, with that superb driving action loop, again with signature Barry percussion.  The only problem with this score is the song is a stinker, and there’s a lack of romantic material. 
 

 

Hiroshi Miyagawa- Symphonic Suite Great Yamato (File No. 0 of the Eternal Edition Collection)

 

In 2025 something snapped in my brain and I went absolutely bonkers down the rabbit hole of all things Space Battleship Yamato.  I’ve amassed an almost embarrassing collection in a year and a half.  If you think big franchises like Star Wars or Trek have a large discography, I think Yamato gives them a run for their money. 
 

Anyways, it occurred to me that after 3 television Anime series and 5 feature films, there really wasn’t a “Greatest Hits” compilation.  Well, this obscure and hard to find disc from 2000 is as close as you get to that. It was written for a reboot Manga series, and an Anime that never got made. 
 

This is a GREAT compilation.  8 suites that feature an enormous body of work, packed with themes and cues heard from countless hours of the classic Anime.  But the odd part is, Track 2 is an all new composition, I believe by the original composer’s son for the new material produced. It’s a fine piece, but it’s the only thing that keeps this from being strictly a “Best Of” compilation. 
 

I would easily recommend this to anyone who wanted to have an all you can eat buffet experience with this series of music, rather than go through each series one by one. Problem is, it’s long OOP and is only sold in a 2 Pack with another disc of music from the very first Series (which is great and legendary), so it’s pricey.  There’s a copy on Amazon for $70, which isn’t too bad considering it’s two CDs in a slipcase. 

Or there’s other ways of hearing it.  Arrgggh. 

 

[Edmilson 12,393]

53 minutes ago, Andy said:

Go to Hyperspace!”

 

John Barry - Star Crash

Let me guess: Star Crash was released AFTER May of 1977, right? 

 

54 minutes ago, Andy said:

Space Wars

How George Lucas titled his space opera saga in a different universe.

[Andy 7,744]

The movie is a howl. Star Wars, Barbarella, and a dash of Harryhausen. 

[filmmusic 3,281]

https://www.jwfan.com/forums/index.php?/topic/38192-i-dont-listen-to-john-williams-any-more/page/2/#findComment-2175177

 

[filmmusic 3,281]

  

A bunch of Horner scores I hadn't heard.

The first, was quite forgettable.

The second, well, I didn't like the synth cues (I think there were some cues completely with synths, right? I guess they hadn't had the budget for a full orchestral score).

The third was the best among these particular ones. But still, not top Horner for me (I think someone here loves this score?).

I have come to the conclusion that I'm not so much into the 90s and afterwards Horner sound (except for some scores like Braveheart, Balto, Once upon a Forest, Legends of the Fall, Apollo 13); I prefer the 80s ones, which I think some are masterpieces!

[#SnowyVernalSpringsEternal 12,430]

1 minute ago, filmmusic said:

The third was the best among these particular ones. But still, not top Horner for me (I think someone here loves this score?).

 

There's some top notch dramatic writing in The Perfect Storm. It also sounds gigantic. The orchestra is as enveloping as the ocean.