Top Ten Overrated and Underrated Scores of the 2000s decade...

Top Ten Overrated Scores of the 2000s:

10) Avatar - James Horner

Yes, I feel that Avatar was a let down, only for the non Navi tribal bits pulling down the score. With the Na'vi cues, the score becomes much more enjoyable and interesting with this mystical world being created musically. I also felt that "War" without the chorus was a bit shallow to listen to, and the album needed a proper ending to it. Considering he had a year to perfect the score (like Howard Shore perfect), the end result can leave you wondering what went wrong...

9) Atlantis: The Lost Empire - James Newton Howard

I just didn't connect with this score as much as I would have expected. The action bits are good if a bit standard by Newton Howard standards. The choral cues are reminiscent of The Abyss, but that does not mean that is bad. I guess the thing that connect with me was the lack of memorability in its primary theme (compared with the great theme from Dinosaur the year before) and the somewhat inconsistent album.

8) Children of Dune - Brian Tyler

Holy track temp, Batman! Is this Gladiator Mark II? That being said, Tyler does a decent job of arranging the influences and making the score attractive enough to listen to. If you wanted a ruckus, look for it in parts of this score. What sinks this score to the overrated status, is the album presentation which is 77 minutes in 35 cues. The first half of the album is great but after that the cues which grow less interesting lowering to filler by the end.

7) Far From Heaven - Elmer Bernstein

I understand that this score was a nostalgic flash from the past with the jazzy sounds of the 1950s, but I just didn't see this score as a highlight of Elmer Bernstein's career. My expectations were probably too high. I do enjoy piano-y scores, I really do, but there's something about this one that doesn't pull me in. To say that this score is just as good as Frankie Starlight and To Kill A Mockingbird is definitely a stretch, but it's not bad; it's just overrated.

6) Stardust - Ilan Eskheri

The problem with this score is that its too generic in its writing; nothing new or fresh. There are scores that take influences and become better and rise above them (Andrew Lockington's Journey to the Center of the Earth). Stardust doesn't feel like that at all. There is not alot of thematic material or specific terrific moments to be remembered here. It's just a generic fantasy score for 60 minutes; exactly what you expect. But if you don't like surprises, dive in!

5) Harry Potter and the Chamber of Secrets - John Williams

First of all, my respect for John Williams is unquestionable, and my enjoyment of The Sorcerer's Stone was vast. When I listened to the Chamber of Secrets, I was disappointed. Even with the new themes, it felt like a rehash. Everything seems almost too predictable, probably because of the use of instrumentation (or we know how John Williams writes). Between Stone and Azakaban, Chamber is the weakest entry in Harry Potter by John Williams.

4) King Arthur - Hans Zimmer

If you created a list of purely loud scores, this would rank comfortably in the top 20. I actually felt tired listening with all the drums pounding and rhythms moving but never really going anywhere meaningful. The few subtle moments there are offer some promise but not enough, and the psuedo Gladiator song isn't bad. The best cue by far is the 10 minute finale, after listening to 50 minutes of either pounding loud or unsatisfying quiet.

3) Up - Michael Giacchino

If I had a choice of either Ratatouille or Up being Giacchino's first Oscar win, I would without hesitation pick Ratatouille. It's more stylized and has alot more substance. The one cue that sold mostly everyone is "Married Life", but for me, beyond that the score didn't have as big an impact on me as Ratatouille. Up certainly does not deserve all the attention that it got; it's like awarding the most not undeserving score rather than the most deserving score.

2) Mission to Mars - Ennio Morricone

The first couple of cues are easy listening with the love theme, but there's no sense of important or significant in the music. The shrieking dissonance heard through most of the score is completely and bordering on the verge of un-listenable in parts. If there would have been a more consistent approach to the score, my rating would be different. However, for all these elements, Mission to Mars remains one of the most overrated scores of Ennio's career.

1) The Golden Compass - Alexandre Desplat

Never has a fantasy score (the average fantasy score has a certain warmth to it to invite the listener in) felt so cold to my ears. The score never draws attention to itself, you could be listening to it for an hour, working on the computer, and then you realize it's over. And that's a bit damning considering Desplat's efforts to address the vast thematic needs of the movie (coming up with 9 or so themes, but none of them are particularly memorable in their own right). It's ironic that the atmospheric bits are a bit more interesting than the full scale action bits. This is one score that's for the critics and deserved its ranking as the most overrated score of the 2000s.

Top Ten Underrated Scores of the 2000s:

10) The Visitor by Jan A.P. Kaczmarek

I was highly impressed with this score because of how well it keeps the music low key. The music is serene and peaceful, with the orchestrations being piano driven with small string orchestra (much like the Oscar winner Finding Neverland). Everything with how The Visitor is written is subtle and intelligent. The CD is certainly a very pleasant and consistent musical experience.

9) Couples Retreat by A.R. Rahman

This score is one of the most entertaining scores that I have heard in a while. There is a cool mix of three musical flavours, such as Hindu vocals, a Latin band, and a Western orchestra. The way the different cultural elements are put together and quite lovely, and they will pull you in with their vast enthusiasm. Think there`s no creativity in the bland film music world of 2009, try this!

8) World Trade Centre by Craig Armstrong

If you only know Craig Armstrong for his loud works, then you should probably try this score. Armstrong works in a simplistic but moving main theme which is utilized by all of the orchestra (including a lovely vocal cue). This score is very minimalist, with the brass is sparingly used. But in the end, it is an extremely poignant work and tribute to the tragic day that was 9,11,2001.

7) Lover,s Prayer by Joel McNeely

Perhaps it is not totally fair to say this score is underrated but rather unheralded. This score is for classical music appreciators. Joel McNeely finally pens a dramatic score that is not totally for some kiddie or simply loud movie. John Williams only pops up with vague influences here and there. I can say that this score would make Georges Delerue proud with its reflective manner.

6) Anacondas: Hunt for the Blood Orchid by Nerida Tyson-Chew

The creativity in how she made the sound layered and the atmosphere is created for making it feel like a jungle is very good. A vast wall of sound is created for the brutal horror parts with chopping strings, blaring brass and pounding percussion. Between the jungle atmospherics, the fast rhythms, and the orchestral depth, Nerida shows that only noise in horror is good.

5) Frost Nixon by Hans Zimmer

Given that the big score that year for Zimmer was The Dark Knight, it seems appropriate that Frost Nixon was largely forgotten (but largely outshines its rival). The refreshing thing about this score is that there are no themes, only constant and intelligent rhythms to move the score a sense of urgency and activity. This ranks in the top 5 of best Hans Zimmer scores of the 2000s.

4) The Time Machine by Klaus Badelt

On pure entertainment value alone, The Time Machine ranks as one of the best listens in that year with its two halves; one delightfully harmonic and multitudinous melodic, and the one wonderfully ethnic and more sinister. The originality police might have a problem with the main theme being close to The Edge, but the main theme that Badelt wrote is the better one, IMHO.

3) 9 by Deborah Lurie

Again, this score contains a small amount of theme and development. However, the attraction of this score is the modern and very dynamic action underscore and the dark pseudo apocalyptic material, with an emotional and uplifting finale cue. Deborah Lurie shows that she is a talent to be watched in the future. If you liked Final Fantasy: The Spirits Within, maybe you should try this.

2) Wallace and Gromit: Curse of the Were Rabbit by Juilan Nott & Co

As I have said before, this score is EXTREMELY(!) entertaining and charming. It contains a multitude of themes including: the famous title theme, the Anti-Pesto fanfare, the love melody, the villain theme, Were-Rabbit motif, etc). The score also adds some tongue-in-cheek moments, a fair allotment of rip-roaring action music, and lastly bits of adventure and suspense underscore. If you liked Chicken Run, go for this one too.

1) All The Pretty Horses by Marty Stuart, Kristin Wilkinson, and Larry Paxton

Just because its modern does not mean it ignores the past. ATPH certainly does not forget its past with great homages to the classic western scores. The thematic material is somewhat simplistic as you might expect but with orchestral touches, the themes come alive. Much of the score is guitar driven with a subtle orchestral touch, but there are alot of moments to take delight in. There is also a mix of intelligent Mexican style into this score which works great. For its personality and consistent nature, All The Pretty Horses definitely deserves to be ranked as one of the best scores of the year and of the decade. It is one of my personal favourite scores ever.