BEST SCORES OF 2008

Sure. But you definitely know how to bait me. I'll leave it alone.

-Erik-

So, uh, where was I? Oh yeah. Best scores of 2008. (Which may or may not have been recorded in 2008... I can't say I know all of them with any certainty. )


Kung Fu Panda Hans Zimmer & John Powell

Of all the scores from this year, this one has proved one of the most memorable to me. Much like the Pirates themes, once the themes for this score are stuck in your head, there's no going back!

It may not be original film scoring, but it is a lot of fun. And does contain a lot of heart too, which only matched the films' story and wonderful characters. (Oogway is Yoda for the 21st century.)


Horton Hears A Who! John Powell

Just a delightful, typically energetic score from Powell. Again, nothing particularly new, but that doesn't matter to me. What it may lack in originality it more than makes up for in pure fun! I could never tire of this score, especially the uber-funky end suite. A true crowd pleaser!


The Dark Knight Hans Zimmer & James Newton Howard

A true divider of film music fans this one. I for one can't get enough of it. I've come to the conclusion that it works perfectly for the movie (at least, for me it does, certainly not for everyone). On the face of it, it does just seem like a slightly improved rehash of the first score. But deeper down, it matches the level of intensity and power the film creates. That's worthy of much praise IMO. I love Zimmer and I make no quarrels about it!


Afrika Wataru Hokoyama

The best Williams score Williams didn't compose this year. Okay, that's a little unfair. There's more to this than it simply being a Williams rip. It's Williamsesque, but there's no obvious plagiarism happening here. One of the years' best themes IMO, hearkening back to the days when themes were all the rage. A fantastic score I recommend to all!


Defiance James Newton Howard

Subtle beauty I think is the two words that best describe this score for me. Very much JNH in that introspective "The Village" kind of mode. As I have stated before, it's too easy to call this JNH's Schindler's List... but that is what unavoidably springs to mind when I listen to it on CD.


Wall-E Thomas Newman

I admit I rarely listen to this one. But in the movie I think it works wonders. I suppose that's about it on that one...


Hancock & Bolt John Powell

I feel as though the two are very similiar, so I tend to place them so close together that I might as well put them together. Where Hancock has the more powerful theme, Bolt is the more energetic and enjoyable one to listen all the way through.


Quantum Of Solace David Arnold

I probably enjoy this one on the whole more than Casino Royale. I like that it feels just as much an extension or sequel to Arnold's first Craig-score than the film does to its predecessor. Proper kick-ass action tracks... though unfortunately ends on a whimper on the album.


Wanted Danny Elfman

I think much of this is something similiar to what we might have had Elfman scored the Bourne movies. 'Fox In Control' is one of Elfman's most enjoyably bad-ass action tracks I've heard from the man.


The Curious Case Of Benjamin Button Alexandre Desplat

I've never been much of a Desplat fan until this year. Not because I haven't liked what he's produced prior to this year, but purely because I wasn't really that familiar with his music. This (along with The Golden Compass) is my first Desplat score which I really like and have become familiar with. There's an elegance and ethereal quality to this score that attracts me to it so much. Quirky, too. Not only that, but I'm always on the lookout for relaxing scores... and this does the job brilliantly.


(There are probably a few scores I'm missing from my list here.)

Boy is this thread going to take off when I include THERE WILL BE BLOOD and YOUTH WITHOUT YOUTH on my list.

I too apologize for the sharpish replies I made. I am just as stubborn and dogged when it comes to these things, which is a major fault on my part.

As far as the close-mindedness comment goes, I think I should have stated that I felt there was close-mindedness within the discussion. I am sure you are not close-minded or even lack imagination in all walks of life (certainly not as an amateur film maker). I don't think having an open mind is simply being able to open the one door, it's probably many. I like to think people rarely have a fully closed mind.

I don't think we should delete anything. It has happened, and it is there for others to make up their minds if they wish. Most, of course, will probably not bother reading it. And why should they? It's up to them I suppose.

Let's all just have angry sex when we can and this whole thing will eventually blow over!

Yeah, lolcat links... that'll please Erik.

YES! UPSIDE DOWN DOGS!

-Erik-

Thanks Tim!

I'm just very young, and with that comes a lot of pride and idealistic views. I'm sure when I'm older I will mellow like the older members on this forum... X1000

Interesting. Not a single one of those ten make my top five. My top 10 (in alphabetical order) are:

- THE BOY IN THE STRIPED PYJAMAS, Horner
- THE CURIOUS CASE OF BENJAMIN BUTTON, Desplat
- DEFIANCE, Howard
- EAGLE EYE, Tyler
- I WANT TO BE A SHELLFISH, Hisaishi
- INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL, Williams
- OORLOGSWINTER, Donaggio
- PONYO ON THE CLIFF, Hisaishi
- THE OTHER BOLEYN GIRL, Cantelon
- STANDARD OPERATING PROCEDURE, Elfman

Dammed! I lost something interesting here??? I didn't read anything!

The Boy in the Striped Pyjamas
Che
The Curious Case of Benjamin Button
Indiana Jones
Wanted

I'm a little bit surprised that Crystal Skull hasn't been mentioned untill now, and yet there is so much music that is to my opinion far less interesting recieving words of praise and blessing. I won't say too much about it since I haven't been much up to date on film music in 2008, but I can say that although it isn't a masterpiece the craftmanship present in Crystal Skull is unique. Williams' orchestra sounds fantastic, and the structure is remarkably coherent despite the extreme diversity of styles. There is absolutely nothing "average" about it, because there is simply no composer alive today that has achieved such an extraordinary technique as the aging John Williams. I am constantly baffled by his versatility, inventive orchestrations, and ability to satisfyingly explore even the smallest of thematic conceptions. Adventures of Mutt is an example of all these things. The piece is a deviation from the usual "theme" arrangements he has done for so many years. It is brilliantly concieved through the interweaving of three thematic "fragments" - themes that are introduced but that apparantly have no ending. There is the melodic fragment performed primarily by horns, the melodic fragment on woodwind, and the chromatic variations on a fragment from the raider's march. There are also the modulating scale figures sounding playful and cartoonish which are cleverly played with throughout the piece (among other methods through a fantastic counter motion in the double bass towards the end of the piece). The originality of the piece's conceptual design is to my opinion astonishing, where something that has been introduced as seemingly complete cacaphonic chaos reaches a musical conclusion that satisfyingly concludes and combines all of its thematic components. It is extremely playful and virtuosic, but has musical substance and vitality to it at the same time. Even in Crystal Skull, which isn't a particular favourite, I feel that the depth of Williams' musical language exceeds that of his contempories. I know I sound like a complete geek with my academic concerns, but I feel a need to defend what I believe in many ways is the best work of 2008.

- Mark

Not a very impressive year for new scores as far as I'm concerned.
* Just two scores really surprised me this year in the sense of their overall enjoyability and listenability:
Afrika (game score) - Wataru Hokoyama
and Okuribito (a.k.a. 'Departures') - Joe Hisaishi

Strike one for the Japanese last year.

* Consistently and expectedly enjoyable throughout (though not innovative in any way):
Doctor Who (series 4) - Murray Gold
Hancock - John Powell
Jumper - John Powell
Kung Fu Panda - John Powell & Hans Zimmer
Torchwood - Ben Foster & Murray Gold

* Some pretty good to excellent tracks could be found on these albums (though not enough to make those excellent albums in their own right):
Horton Hears A Who - John Powell
Indiana Jones And The Kingdom Of The Crystal Skull - John Williams
Merlin - Rob Lane
Der Rote Baron - Dirk Reichardt & Stefan Hansen
Star Wars: The Clone Wars - Kevin Kiner

* And honourable mentions to these releases:
For an unexpected and beautiful new interpretation of an old master: The Miklos Rozsa Collection - Gregg Nestor (classical guitar arrangement compilation)
And for an unexpected and inspired new interpretation of an old master: Cloverfield - Michael Giacchino

* And without a doubt the very best release of 2008:
The massive rerecording of Miklos Rozsa's 1962 epic El Cid.

These lists, and the scores omitted from them lead to three interesting conclusions:
1) I still have a lot of 2008 scores in my collection to go through
2) I like old stuff
3) So far, Powell is my most appreciated composer in 2008!

(I didn't want to mention it as I've already caused enough trouble in this thread.)