Movie/TV/Game Scores Through The Ages - Alan's Personal Favourites

I bought the DVD so I could hear the score in the film. I agree that the film is overly long - I think that the DVD is longer than the original film. But it is worth watching for Jablonsky's score.

I have been trying to do a track-by-track "analysis" on this score. But it has been sat unfinished for several years.

If you go by IMDB, yes.
But I always take my information from the actual cd booklets or covers, and THAT says 2003.
There is a drawback there as well of course, as it's not consistently used (sometimes it's the year of composition, sometimes that of recording, sometimes that of issue, re-issue or even rights renewal!).

So whatever year you take, there is bound to be some clutter on the line.
At the end it's just another preference, I guess?

Goran Bregovic isn't Hungarian though.

One thing that impairs my listening is the heavy regular praise that goes to the level beyond any sensibility from one member on a Polish forum, that I don't like, because of the way he states his views and tends to offend another composer.

Well, yeah, my forum is a "nice" thing sometimes... Someone who I've been in conflict for two years now tried to publicly suggest there that I had sex with Hans Zimmer, because I don't allow any personal attacks on him on our board...

I didn't say Hungarian! I said Balkan!


Anyway, so: 2004, hmmm...some OK scores there.

Steamboy doesn't come out on top for me, although it's a very enjoyable score.
I rate your choices Hellboy and I, Robot both over it (Hellboy edging out overall, although to me the theme to I, Robot is the better one!

To get it out of the way (as you already gave the title a nod as well), my uncontested winner for 2004 is Shigeru Umebayashi's exquisite House of Flying Daggers.
Its overall fairytale quality (that SO well supports the beautiful film) and its fragile theme never fail to move me deeply. I should even go so far as to say that it's my single most favourite oriental score ever: well balanced, lyrical, exciting when needed, introspective where called for.
It's just one phenomenal score.

But, aside from the usual suspects already mentioned (The Village, Passion Of The Christ, George And The Dragon, The Bourne Supremacy), I'd like to draw attention to a couple of really good scores from that year.

First of all, before my top 5 (well, the four remaining), a couple of nods to some really good TV work:
- Sean Callery's 24 is surprisingly good: exciting and tight throughout, and a great adrenalin-filled listen.
- I like Yuki kajiura's work on the anime series Madlax, there are some fine, thematic and guitar driven tracks, some weird rocky Japanese songs...overall an interesting and diverse (if not very coherent) listen.
- Jeff Beal's Carnivále is, admittedly, an acquired taste, with its odd and unsettling combination of Ry Cooder-ish semi-folk style and instruments, working to an eerie quality that supported the (unfortunately aborted series) so VERY well.

On the game score front Giacchino and Tilton delivered a fine action-oriented (but very melodic and enjoyable) orchestral score again with Mercenaries: Playground of Destruction, although (oddly maybe?) I prefer Richard Jacques Headhunter: Redemption which in all its electronic splendour seems to convey a better sense of urgency.
But towering waaaaay over any of them is Jack Wall's thunderously epic Wrath Unleashed, which just pretty much unleaseshed the forces of heaven and hell in humongous sound. Great stuff!

For films, George Fenton's Stage Beauty has some truly lovely themes (but unfortunately is too long, overall), and there are some good tracks in Revell's Chronicles Of Riddick (but it too is too long).
Alan Silvestri's Van Helsing delivers the goods in the action department, and is still a fun listen (though the concept of "subtlety" has been gracelessly and violently flung off the parapet). Hans Zimmer's King Arthur pretty much goes the same way, but is enjoyable enough nonetheless.

Morricone's Fateless is subdued but on CD delivers a very satisfying and quiet listen.

And then there's one of the most uneven scores to one of the oddest films I have seen: Blueberry. The film for the better part is basically one long visual transcription of a peyote trip. The score, like the film, is overly ambitious and pretentious, and I would dismiss it entirely but for the eclectic theme, which actually is suprisingly effective, and really good!

So, now then for the rest of my top 5:

5) Sky Captain And The World Of Tomorrow by Edward Shearmur is not without flaws (for one: it again is too long), but delivers a great hommage and sense of matinee viewing, with action and style galore!
4) Gabriel Yared's rejected score to Troy has in the last year had its detractors. To them I say PTUIH ! This visceral, pounding and powerful work blows Horner's replacement right into Scylla and Charybdis!
3) The Incredibles by Michael Giacchino is such a fine and enjoyable score. Clearly made with the greatest love and sense of fun, and it shows throughout. One of the finest Barry hommages I have ever heard, and a fantastic standalone experience. To my mind Giacchino's best work by far!
And it would have easily been number two on my list, had it not been for
2) Rolfe Kent's Sideways.
Yes. How surprising is that? Small scale jazzy stylings and rhythms for an introspective mood create one of my favourite CDs! It succeeds unbelievably well in creating a sense of quiet kindness with an ever so slight sense of melancholy. A perfect listen for a summery Sunday morning.
A very good film as well starring the (I think) rather underestimated Paul Giamatti.

I'd like to see a fight between Graeme Revell and Edward Shearmur over who's SKY CAPTAIN AND THE WORLD OF TOMORROW is the best?

Ugh. Corrected.

That being said, I would have loved to hear Revell's take on SKY CAPTAIN. Now there's a film that cried for a gritty, ambient soundscape!!

If you want to hear Revell in action/adventure mode look no further than TITAN A.E., which is in desperate need of an official CD release. The opening cue is a stunner!

-Erik-

I agree with Erik that this was a fabulous year for film music, looking at everyones favourites makes me realise I bought a lot of CD's that year. Anyway, rather than lists loads that I liked here are my top three favourites....

1/ THE BOURNE SUPREMACY - John Powell

My very favourite Powell score and amongst one of my most played CD's.

2/ HELLBOY - Marco Beltrami

Excellent score to a very good film.

3/ SIDEWAYS - Rolfe Kent

Spot on Martijn! Great film and a great score, a superb stand alone album.

I'm lurking in the shadows waiting for it to be completed so I can get started.
tom

I admire your patience!

Both 2003 films.

-Erik-

Hence they are 2003 films.

-Erik-

Great stuff! The Held one is a goodie.

omgs, that theme from Seraphin I knew already! I had downloaded it a while ago, and had no idea where it was from. It was just called Reverie. I love that piece, and have been looking for the composer and score for a long time.

Btw, Alan, I think you will like the group called Secret Garden. That Reverie theme is pure Secret Garden.

Peter

Cool, Alan. If you're interested in some SG recommendations, I highly recommend that you get their first three albums, Songs from a Secret Garden, White stones and Dawn of a new century. All of these are filled with amazing tracks. The albums Once in a Red Moon, Earthsongs and Winter Poem are less good, but still very listenable. The album Inside I'm Singing is the most atrocious album you will ever hear, even if you were to live a thousand years, so avoid that by whatever means necessary.

Peter