Like last year, I have been checking up on my colleagues around the world wide web in an attempt to discover what everyone loved and hated. In this research I have been through all the reviews of 26 websites and rounded up the ratings of no less than 128 film and TV scores. There has been (to my knowledge) 571 reviews written and the average score of all reviews is 68 out of 100. How does that compare from 2008? It’s pretty much the same with an average rating of 66. Maybe 2009 was a better year for scores?

Before we begin with the list, here are some interesting statistics:

The website with most reviews: FSM Online (58 reviews)
The website with the most positive average score: KQEK (88 out of 100)
The website with the most negative average score: Muzyka Filmowa (60 out of 100)
The scores that got rating 0 out of 100: Gamer, Bright Star
Number of unique scores reviewed: 128
The total number of reviews (of all scores): 571
The scores with most reviews: Star Trek (22 reviews), Harry Potter and the Half-Blood Prince (15 reviews), Angels & Demons (15 reviews), Terminator: Salvation (15 reviews), Watchmen (14 reviews)
The scores with no reviews (that I could find): Behind Enemy Lines: Colombia, Espion(s), Henry Poole is Here, He’s Just Not That Into You, Last Chance Harvey, Mad Men Vol.1, Obsessed, Phoebe in Wonderland, Ricky, Role Models, Super Capers, Taking Chance, Tales of the Riverbank, The Haunting in Connecticut, The Secret of Kells, Toyo’s Camera.

You will see several scores that have a similar rating. The rankings are based on number of reviews and highest score. For example a score with average rating of 70 which has 5 reviews will rank lower than a score with the average rating of 70 with 8 reviews. Also, if two scores have the same rating and number of reviews, the one that will outrank the other is that with the highest rating from a website, 100 being the highest. Let’s start from nr. 72 and count our way to the top (The average rating is given after the score’s name). The top 15 has video previews and extra features.

73. Gamer by Robert Williamsson & Geoff Zanelli (18)

72. Bright Star by Mark Bradshaw (23)

71. Halloween II by Tyler Bates (33)

70. Underworld: Rise of the Lycans by Paul Haslinger (44)

69. X-Men Origins: Wolverine by Harry Gregson-Williams (49)

68. The Informers by Christopher Young (50)

67. The Unborn by Ramin Djawadi (50)

66. 2012 by Harald Kloser & Thomas Wander (51)

65. Watchmen by Tyler Bates (51)

64. The Last House on the Left by John Murphy (53)

63. A Perfect Getaway by Boris Elkis (53)

62. Duplicity by James Newton Howard (56)

61. Night at the Museum: Battle of the Smithsonian by Alan Silvestri (58)

60. Land of the Lost by Michael Giacchino (59)

59. Harry Potter and the Half-Blood Prince by Nicholas Hooper (59)

58. G.I.Joe: Rise of the Cobra by Alan Silvestri (60)

57. Ghosts of Girlfriends Past by Rolfe Kent (62)

56. Transformers: Revenge of the Fallen by Steve Jablonsky (62)

55. Law Abiding Citizen by Brian Tyler (63)

54. Heroes by Wendy & Lisa (63)

53. Year One by Theodore Shapiro (64)

52. Julia & Julia by Alexandre Desplat (64)

51. Taking Woodstock by Danny Elfman (64)

50. Outlander by Geoff Zanelli (64)

49. The Final Destination by Brian Tyler (64)

48. Monsters Vs. Aliens by Henry Jackman 65)

47. Race to Witch Mountain by Trevor Rabin (66)

46. Fast & Furious by Brian Tyler (66)

45. Angels & Demons by Hans Zimmer (66)

44. Terminator: Savlation by Danny Elfman (66)

43. Crash: The Series by Mark Isham & Cindy O’Connor (67)

42. Whiteout by John Frizzell (67)

41. The International by Tom Tykwer, Johnny Klimek & Reinhold Heil (67)

40. The Time Traveler’s Wife by Mychael Danna (67)

39. Streetfighter: The Legend of Chun Li by Stephen Endelman (68)

38. Cheri by Alexandre Desplat (68)

37. Moon by Clint Mansell (68)

36. The Soloist by Dario Marianelli (69)

35. Fantastic Mr. Fox by Alexandre Desplat (70)

34. Green Lantern: First Flight by Robert J. Kral (70)

33. District 9 by Clinton Shorter (71)

32. True Blood by Nathan Barr (72)

31. The Princess and the Frog by Randy Newman (73)

30. The Uninvited by Christopher Young (73)

29. Coco Before Chanel by Alexandre Desplat (73)

28. Dragonball: Evolution by Brian Tyler (74)

27. Knowing by Marco Beltrami (74)

26. Astro Boy by John Ottman (75)

25. Ice Age: Dawn of the Dinosaurs by John Powell (76)

24. A Christmas Carol by Alan Silvestri (77)

23. 9 by Deborah Lurie & Danny Elfman (78)

22. Lesbian Vampire Killers by Debbie Wiseman (78)

21. The Twilight Saga: New Moon by Alexandre Desplat (78)

20. Star Trek by Michael Giacchino (78)

19. Pope Joan by Marcel Barsotti (80)

18. The Lazarus Project by Brian Tyler (80)

17. Drag me to Hell by Christopher Young (80)

16. Avatar by James Horner (80)

Surprised by this list? What did you think of 2009? What are your verdict? Let us know in the comments section below!

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2009 was a year of one-night stands. It’s great when you are doing it, listening to the scores, but in the morning it’s all awkward and you leave with a short memory of greatness that doesn’t last. Sometimes you come back, but it doesn’t stick with you. I was listening to scores from previous years and I wonder if the scores of 2009 will even grace a top 10 list when including music from this decade. I have a hard time finding even one cue that makes me emotional (although I did find some… more on this later.)

It’s funny because I have been very positive this year and during my half-year roundup I had some very good words to say about the current state of film music. My average score from my reviews is 80, which again suggests that this has been a good year. Perhaps I have been a bit selective about the scores I review, because if I reviewed all 150 scores I’ve listened to during the year, then the picture would be more than a little different.

I constantly find myself re-visiting older scores and I don’t even have to go too far back to find them. That being said, I have compiled a list of my top 15 scores this year so here we go:

15. Coraline by Bruno Coulais
A very inventive score by Bruno Coulais was my first love this year. The movie itself was very fun and adventurous and the score matched that perfectly. To me it sounded like a Tim Burton/Danny Elfman production at times, but it still kept it’s playfulness and originality throughout. Bruno Coulais certainly raised his game with this score and you really need to listen to the score and watch the movie as the story unfolds. Great stuff. Read my review.

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14. Pope Joan by Marcel Barsotti
Pope Joan or Die Papstin as it was originally called is one of my most powerful surprises this year. Barsotti has created a lush orchestral score for the Vatican drama movie about a woman who disguises herself as a man and enjoys the respect of her/his colleagues. An interesting story with an even more interesting score. The very strong score has no immediate flaws, but it can also be said that true highlights are lacking. Overall it’s so damn enjoyable to listen to that the one big failing doesn’t bother me much at all. You should listen to it as soon as possible and I guarantee you an hour of great music.

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13. Battlestar Galactica Season 4 by Bear McCreary
While not as good as season 2 or season 3, Bear McCreary came back with more music than and previous season and rightfully enjoyed massive amounts of praise from most critics. The themes are back and if cues like “Farewell Apollo” don’t touch you then you must be made of stone. There’s plenty of great music here, but perhaps not enough to fill 2 CDs. If it was just 1 CD, it might have been at the very top of my list. The music here will no doubt fill you with happiness if for no other reason than  McCreary being wonderful, young, fresh voice in the world of film music.

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12. Life in One Day by Johan Hoogewijs
It’s a movie and a composer you probably won’t have heard of, but one that you should pay attention to. The wonderful orchestral score he created for Life in one Day will touch your heartstrings, I promise you. Its powerful emotional themes are not the only treasures you will find, as in between there are great examples of cues which don’t require that epic sound.

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11. Moon by Clint Mansell
Clint Mansell and minimalistic scores go well together usually, and it’s certainly the case here. For Moon he created a sound that’s very anonymous in the movie, but hits a home run on the soundtrack. The main theme is incredibly catchy and the long cues are trance-like, not in the type of music, but in the way that seven minute plus cues go by in the blink of an eye. It’s truly a bizarre movie, and so is the score, but in a good way. One of my sleeper favorites this year.

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10. The Tudors Season 2 by Trevor Morris
First there was season 1 which in my opinion was a great score, then came season 2 which was even better. If you don’t know, The Tudors is a great television show about the life of King Henry VIII played by Jonathan Rhys Meyers. The versatile Trevor Morris has created one of the best opening titles I have heard in years and in season 2 he built on that to create a full score for season 2. It might even sound slightly familiar as it has a very dramatic flair over it, like a light Remote Control Productions score, but its different as well in ways you just have to experience. Read my review here.

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09. Home by Armand Amar
A beautiful documentary with an even better score. It has all the hallmarks of a great score. The themes are beautifully presented with the breathtaking images. Its also a very versatile soundtrack with music from all over the world. Armand Amar is no stranger to me, but he might be to you. I suggest you check him out now and one of my favorite scores; Le Premier Cri which he also composed the music for. Read my review here.

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08. Ink by Jamin Winans
Who is Jamin Winans and what is Ink? Those were just a couple of the questions in my mind when I put this CD to the test. He is a very talented person, let me tell you that much. Not only did he compose for the sci-fi movie Ink, he wrote the script and directed it. I have never seen the movie itself, but the score is truly a work of genius. A minimalistic score in the vein of Moon by Clint Mansell, but it has its own sound.

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07. The Twilight Saga: New Moon by Alexandre Desplat
This is high on my surprise of the year list as I didn’t expect Alexandre Desplat to deliver a score of this magnitude, especially when you consider the scores he has produced this year. Most were pedestrian scores that didn’t even register. As though he was sleeping through the other scores and decided to go all out with this one. The energy here is amazing and the theme he created for this movie is one of the best all year. If only the movie was as good as this score, then we would really have something to shout about. Easily in my top 10, Alexandre Desplat finally delivers a score I can truly love. Read my review here.

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06. Transformers: Revenge of the Fallen by Steve Jablonsky
Before I start I have to say something: This is a great action score. An over the top action score that doesn’t hold back. Yes it’s quite anonymous . Steve Jablonsky, Michael Bay and Hans Zimmer decided to not overuse the old themes and not create too much new stuff. Instead they just decided on pure action scoring of the highest grade and they succeed with this in my opinion. Yes it’s one of the “one night stands” type of scores that is incredibly good while you listen to it, but be honest, can you remember anything from it? For a pure impact score, they don’t come much better than this. Read my review here.

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05. Angels & Demons by Hans Zimmer
There were a lot of expectations for this one because most would agree that The Da Vinci Code was a great score by Zimmer. I liked The Da Vinci Code, I liked it a lot, but I felt that apart from “Chevaliers De Sangreal” it was a bit lacking. That being said, the theme is what the score was remembered for and that’s what made it so great for most people. In Angels & Demons Hans took another approach, one of sheer explosive tones instead of themes. It’s a bit like Transformers: Revenge of the Fallen in that respect but oh boy does it work. From the start with 160 BPM you get a sense of what to expect; it’s violent, explosive, and consistently holds you by the ears. It delivers on all fronts and deserves to be in the top 10. Read my review here.

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04. Agora by Dario Marianelli
This is not a greek tragedy, but a greek feast for which Dario Marianelli has invited you all to take part and take part you should. This is a score I expect most people might have missed and it is a true shame if that’s the case. I hope you read my review and it peaked your curiosity. One of the most surprising scores of the year for me, not because I didn’t believe Dario Marianelli could do it, but because it just dropped in my mailbox unexpected. I had not heard of this, took a listen and I was immediately taken in by the slightly epic tones of Marianelli’s work. Read my review here.

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03. The Lazarus Project by Brian Tyler
After being bombarded last year by one action score after another (make that last couple of years) it was refreshing to listen to The Lazarus Project by Brian Tyler. Its sound and themes are some of the best this year. Some would argue that “Jaybird” is the only cue that is worth listening to but I disagree. It has greatness all over it and while “Jaybird”  is the best one, the title track and other cues are a truly remarkable listen in an otherwise dreary year for scores. Read my review here.

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02. Avatar by James Horner
James did it again and most of the critics agree. The moviegoers love the movie that James Cameron has created and the 3 hours of music which James Horner composed for it didn’t go unnoticed. It is one of the more controversial scores of the year as people have been discussing Horner’s use of old themes and scores. I am taking a different approach to it all. Although I respect and understand the controversy I can’t help but think that a lot of people are missing the point of good music. It seems, and this is just my theory, that music that was great in one score (for example Glory) isn’t great if used in another score (for example Avatar). This is completely illogical to me, but it doesn’t matter. I enjoyed this score immensely, still do and will do for a long time. A wonderful score that has everything except a grand theme, and if it had that, it would give my nr. 1 a proper run for it’s money. Read my review here.

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01. Star Trek by Michael Giacchino
This was the biggest relief of 2009 believe me. I was afraid, nay, terrified when I heard Michael Giacchino got the job to score Star Trek. As a huge Star Trek fan (of films, TV series and the music) I was very afraid of what this man could do. I haven’t been his biggest fan, Lost is pretty much lost on me and I didn’t particularly like Speed Racer from last year. Thankfully all my fears were for nothing as Giacchino delivered — oh my, did he deliver! He not only managed to keep it “Star Trek”, but he managed to create the true feeling of that universe while at the same time make new themes and sounds, that for me is Star Trek. I didn’t think it was possible and I love this score to death I really do. Giacchino also composed the best three-note bad guy theme for Nero that is as awesome as his “Roar!” from Cloverfield. To boldly go… Read Jon’s review here.

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Best Bad Guy Theme: Nero from Star Trek by Michael Giacchino
Biggest sigh of relief: Star Trek by Michael Giacchino
Most controversial score of the year: Avatar by James Horner
Biggest disappointment of the yar: X-Men Wolverine by Harry Gregson-Williams
Biggest positive surprise of the year: Star Trek by Michael Giacchino

What are your favorites? Tell me your top 5, 10 or 15 in the comments section below.

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Christmas is by far my most favorite holiday. It’s the one time where my family keep a strong tradition and makes it an evening not to forget. It’s also a time for celebration, a time for films and music. Every year I have certain rituals where I’ll watch my favorite Christmas movies, and of course it’s the one time of year that I don’t have to feel guilty for listening to Christmas music.

I have my favorites and I’m sure you have yours also. The list I compiled means something to me, more than just the fusion of film and music, they are nostalgic and have a very strong sense of emotional attachment. The best music of any season is that which evokes emotions in me, whether it is happy or sad. Here is a list over what I think is the Top 15 Christmas Movie Soundtracks of all time:

Top 15 Christmas Movie Soundtracks Of All Time

15. All I Want For Christmas by Bruce Broughton

Not a classic, but a cute little Christmas story and Bruce Broughton was brought in to give it that extra special Christmas sound. I like the warmth of this very short score (only about 16 minutes). Bruce Broughton’s other Christmas score Miracle On 34th Street is perhaps more famous and let’s not forget Eloise at Christmastime, but I always liked this one better.

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14. The Holiday by Hans Zimmer

I love romantic comedies, it’s true. A hopeless romantic, but it has given me many hours of (some would say pointless) entertainment. The Holiday is a great couch-watch if you are in the romantic mood this Christmas. It also shows that Hans Zimmer is not all Mr. Macho Action guy, but also a bit of a soft, cute, cuddly  kitten. Okay, weird mental image, but joking aside, this is a really nice romantic comedy score with all the trimmings. Enjoy!

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13. The Chronicles of Narnia: The Lion, The Witch and The Wardrobe by Harry Gregson-Williams

Not technically a movie about Christmas — actually not at all — but who said it would be? It’s all about memories and I remember, this one came out just before Christmas and I watched and enjoyed it so much. The excellent score by Harry Gregson-Williams was slightly magical as well.

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12. The Nightmare Before Christmas by Danny Elfman

Yes, why #12 you ask? Shouldn’t this be #1? Well, yes and no. As a movie it clearly is a Christmas classic and as an accompanying soundtrack. However I am judging it by the score away from the songs, and without the funny voices it doesn’t have the same charm to it. Still a wonderful tie-in with the movie and that’s why it’s up here at nr. 12.

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11. Jingle All The Way by David Newman

A very fun movie that never ceases to wake up the kid in me. Yeah I know it’s childish, but the energy of it is great and David Newman managed to capture that in the score. It just needs a little bit of polishing to make it ascend in rank. All in all an entertaining Christmas score.

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10. Santa Claus The Movie by Henry Mancini

I just have a soft spot for these old Christmas comedies. This one is technically a fantasy, but pure fun nonetheless. The score has a mystical but Christmassy feel to it. Just a wonderful trip back in time that still holds up well in 2009. Just don’t expect an all-out Christmas score when you get it.

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09. Love Actually by Craig Armstrong

I know what you’re thinking. Yet another romantic comedy. Even though I watched it at Christmas, the movie is not near as good as Craig Armstrong’s excellent score. Pure Christmas candy this, but it goes well for all seasons. The theme might be a bit pompous and overachieving, but hey it’s Christmas right?

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08. Blizzard by Mark McKenzie

Who knew that this movie no one really remembers has such a great energetic score? It does and from the first cue it just scoops you up on a wonderful journey. It’s very uplifting so you Tim Burton fans better be careful with this one. I love inspirational scores like this.

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07. Jack Frost by Trevor Rabin

Another great thematic score by Trevor Rabin. This is what he does when he is at his best. He just writes one hit after another and this extremely short score has it, and leaves you wanting more. A fun movie to boot and you will get in that Christmas mood in no time.

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06. A Dog Named Christmas by Jeff Beal

Fresh out of the stores, this came out of nowhere and totally surprised me. I have been a Jeff Beal lurker for a while, sitting on the fence, but this score finally sold me. What an uplifting inspirational family-friendly score! This has the potential of being a Christmas classic, but ask me in 5 years or so if it’s still up there.

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05. Joyeux Noel (Merry Christmas) by Philippe Rombi

French Christmas doesn’t come better than this (Even if it’s not… well… see the movie). In fact, it’s pretty hard to beat by any country. Philippe Rombi has constructed a Christmas classic that will touch you with it’s minimalistic beauty.

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04. The Polar Express by Alan Silvestri

He does know how to make a classic doesn’t he? Recently he tried with A Christmas Carol and didn’t quite make it, but go back 5 years and you have The Polar Express which is delightful from start to finish. In fact, watch this movie today and be mesmerized by Silvestri’s wonderful lush orchestral score.

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03. Noel by Alan Menken

Five New Yorkers come together on Christmas Eve, seeking a miracle, or so the synopsis say. Well I say they found a Christmas miracle in this wonderful score. It’s so full of heart and great themes, that just listening to this will give you goosebumps.

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02. Edward Scissorhands by Danny Elfman

The original gothic Christmas, the way only Johnny Depp, Tim Burton and Danny Elfman could do it. It doesn’t get much better than this. Wonderful movie, wonderful story, wonderful acting, wonderful directing and wonderful music by Danny Elfman. The soft instruments, windy choirs (which are by far the centerpiece of the score), the magical melodies, take your pick! No Christmas without Edward Scissorhands!

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01. Home Alone by John Williams

Oh John, how do you come up with the goods over and over? Hands down one of the best Christmas comedies ever, just pure fun and required watching at Christmas. Then comes the enthralling sound of John Williams on top of it all. The main theme itself is just the beginning, but you recognize the tones everywhere. They say Christmas lasts until easter, but I have been heard humming this in June, just saying. This is THE Christmas classic folks, so make sure you have a wonderful John Williams Christmas!

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Agree or disagree? Let me know your comments and your favorite Christmas soundtracks in the comments section below.

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Even though I quite like, nay love it so far, there has been a few scores that rubbed me the wrong way.

I admit that it’s hard to pick out the 5 worst film or TV scores. Ok, the nr. 1 and nr. 2 stood out for me, but the next 3 was much harder. The scores could easily have been replaced by other equally mediocre scores.

But before we go with my choices, here’s the critics choice of the worst 5 scores so far:

05. The Last House on the Left by John Murphy (53/100)

“Supposed action cues Looking For Krug and John V Krug are let down by repetitive string dirges and relentless buzzing.” – Danny Graydon, Empire

Well it’s a decent score I think. Nothing special about it and certainly not John Murphy’s best score. If you want a great horror John Murphy score, go with La-La Land’s recent release 28 Weeks Later instead.

Best cues: Opening Titles, The Pool, The Boathouse

My Rating: 60/100

04. Watchmen by Tyler Bates (51/100)

“A score-only album of 45 minutes of material meanders between genres indiscriminately, likely limiting its appeal to concept loyalists.” – Filmtracks

Well well… I could have guessed the critics didn’t like this one. I on the other hand quite enjoyed this. It had some good cues in there to keep the quality quite high.

Best cues: Rescue Mission, Prison Fight, I Love You Mom

My Rating: 70/100

03. The Unborn by Ramin Djawadi (50/100)

“The album as a whole turns into the same sort of dull ambiance that defines the vast majority of modern horror music.” – Clark Douglas, Movie Music UK

Again, I don’t really agree. There’s some ambience there, but it has to be. You can’t score a horror movie without ambience. Besides, some of the ambience is quite nice and scary. There’s a good theme in there as well.

Best cues: The Unborn, The Glove, Twins

My Rating: 60/100

02. X-Men Origins: Wolverine (49/100)

“This seems to be a case of just going through the motions – there’s nothing even vaguely unique about it.” – James Southall, Movie-Wave

That sentence from James says it all really. It’s just going through the motions without really going anywhere. At the first listen I thought that it wasn’t so bad, but I soon realize that my high hopes for this score got in the way of my better judgment. Sadly not near Harry Gregson-Williams best…

Best cues: Logan Through Time, Wade Goes to Work, Kayla

My Rating: 50/100

01. Underworld: Rise of the Lycans by Paul Haslinger (39/100)

“Underdeveloped and underachieving. Those are two words I would use to describe this soundtrack.” – Jørn Tillnes, Soundtrackgeek

This is the clear winner so far in the worst of the worst. It isn’t my choice of worst, but it’s a very disappointing score with hardly much to shout about.

Best cues: Lucian and Sonja’s Love Theme, The Wolve’s Den, Per Aspera Ad Astra

My Rating: 40/100

So that was the critics choice for the worst of the worst. Agree or disagree?

Here’s my top (bottom) five:

05. Super Capers by Nathan Lanier

The score itself is fine, but almost all the cues are ruined by talking. I’m sure it’s supposed to be funny, but it is really annoying. Sometimes it works, sometimes it doesn’t and this is one of those times.

Best cues: Main Theme, The Throne Room, The Bridge

Critics Say: Don’t know and couldn’t care less…

My Review: Ain’t gonna happen…

04. JCVD by Gast Waltzing

I do love Jean Claude Van Damme… back in the 80s! Coupled with composer Paul Hertzog he was invincible. This film is supposed to be an artsy comedy and it’s enjoyable, but I simply can’t like the jazzy/funky score.

Best cues: JCVD Theme, JCVD Theme II, JCVD Theme III

Critics say: Only one review that I’ve seen from KQEK and they seemed to like it. Hmmm…

My Review: Nah… but some of his 80s/90s scores might appear…

03. My Bloody Valentine 3D by Michael Wandmacher

Not my favorite horror score to put it mildly. It felt like a big step backwards after scores like Marco Beltrami’s The Eye for example. It was hard to get through it all without hitting the volume button down a few notches. It’s noisy, loud and simply too complex. Then again, maybe I’m not smart enough to judge it.

Best cues: Buried Alive (Main Titles), Prodigal Son, First Responder

Critics say: I’m the only one who has reviewed it (to my knowledge)

My Review: My Bloody Valentine 3D Soundtrack Review

02. Crank: High Voltage by Mike Patton

Mike Patton is too experimental for me. I don’t really know what to do with a score like this. Is it funny? Yeah it can be, but it’s also painfully strange and weird and strange and weird! If you’re a fan of Mike Patton, then this will give you a kick I’m sure.

Best cues: Sweet Cream (Redux), Tourettes Romance, Epilogue in My Dreams

Critics say: IGN loved it while FSM disliked it. That’s true of this score. You either love it or hate it.

My Review: Nope

01. He’s Just Not That Into You by Cliff Eidelman

I’m usually a fan of Eidelman’s work, but I just don’t like this score. Sorry Cliff! The things I don’t like about it is that it doesn’t really go anywhere, but keeps up with the light comedy cues. There seems to be no real purpose. It doesn’t entertain or evoke any emotions…

Best cues: Not to be Trusted, Are you going to marry me, End Credit Suite

Critics Say: No reviews… probably for the best.

My Review: Doesn’t look like it’s happening…

So there you have it… the worst of the bunch. Have your say… what do you think is the worst of 2009 so far?

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Welcome soundtrack fans! Here is part 2 of my first half round up.

Yesterday was all about the critics, my peers. As interesting as that was I bet you are wondering how much my top 10 list will be different from that. Quite a bit!

2009 has been good to my ears and mind. So much good stuff has been released this year and still only half-way in.

So here’s my top 10 for the first half of 2009:

10. Heroes by Wendy & Lisa

I’ll start with a TV show that once was great. It’s true I don’t watch this anymore, but the music, or the real music I should say, is finally here. Last year the soundtrack to Heroes was released, but it was a various artists soundtrack that didn’t have much to do with the show. Finally the score is here by Wendy & Lisa and its great!

I don’t know why critics don’t like this… why!?

Best cues: Peter, Claire, Mohinder

Critics Say: 60/100 (27^th best score so far this year). They are not happy!

My review: It’s coming!

09. Home by Armand Amar

A wonderful score to a great documentary by French composer Armand Amar. A great companion to earth, our home.

I highly recommend this and other work by Armand Amar. He is truly a unique and great composer.

Best cues: Home Part I, Home Part II, Home Part IV

Critics Say: Not much! I’m the only one who has reviewed it so far…

My review: Home Soundtrack Review

08. The Taking of Pelham 1 2 3 by Harry Gregson-Williams

Hated by critics (I think…), loved by me. I don’t know if it’s the awesomeness of the sounds or the subtle but extremely tense cues that gets me. It’s Harry Gregson-Williams at his action/thriller best.

Best cues: The Train Leaves the Station, The Lights are all green, Manhattan Bridge

Critics Say: Don’t know! I’m the only one who has reviewed it to my knowledge, but I bet it won’t be a pretty sight when the critics sharpen their knives…

My review: The Taking of Pelham 1 2 3 Soundtrack Review

07. Outlander by Geoff Zanelli

A limited release by La-La Land records swooped in and grabbed my heart and mind. I kind of cheated since I watched the movie a long time ago and pleaded for its release. For a small release it sounds pretty epic! It has those sweeping moments, great action cues and wonderful themes.

Best cues: Setting the Trap, Killing the Beast, Kainan Becomes King

Critics Say: 73/100 (11^th best score so far this year). The critics are pretty pleased as it almost got into the top 10.

My review: Outlander Soundtrack Review

06. Terminator: Salvation by Danny Elfman

Oh Danny boy… Where have you been hiding these skills? Don’t get me wrong, Danny got skills, in the fantasy genre, but this is a whole new can of whoop-ass. A simply awesome action score from start to finish, well-polished and delightful.

Best cues: Opening, Marcus Enters Skynet, Final Confrontation

Critics Say: 68/100 (17^th best score so far this year). Not a bad score by something so un-Elfman’ish. Some hated it, but most seem to like it.

My review: Terminator: Salvation Soundtrack Review

05. Angels & Demons by Hans Zimmer

Hans you did it again! I know most people disagree, but I think Angels & Demons is a better score overall than The Da Vinci Code. So the marvelous theme Chevalier De Sangreal is hardly used at all, but so what? This score is more explosive and a bigger better package.

Best cues: I60 BPM, Black Smoke, Science and Religion

Critics Say: 66/100 (24^th best score of the year). Ouch! Most critics don’t like this very much and I really can’t understand why.

My review: Angels & Demons Soundtrack Review

04. The Tudors Season 2 by Trevor Morris

Another wonderful TV score by Trevor Morris. The first one was of course season 1, but this is a better score overall. Mr. Morris took it up a notch integrating the main theme and added more drama and more bang for the bucks. Well done!

Best cues: And so it begins, The shape of things to come, Anne Dreams of her Childhood

Critics Say: Unfortunately no one seems to bother reviewing this marvelous score…

My review: The Tudors Season 2 Soundtrack Review

03. Star Trek by Michael Giacchino

I really love this score. Star Trek is back! At first, I was a bit disappointed, because I really love the Star Trek universe and its many scores. I’m glad I was proved wrong (to myself). This is an epic and wonderful score which embodies what s beautiful about the Star Trek universe. Great themes and the best bad guy theme in a Star Trek movie so far. It is the best Michael Giacchino score I have ever heard.

Best cues: Labor of Love, Nero Sighted, End Credits

Critics Say: 75/100 (8th best score so far this year). The critics agree. Inspiring work by Mr. Giacchino!

Jon’s Review: Star Trek Soundtrack Review

02. The Lazarus Project by Brian Tyler

What a super super score by Brian Tyler. I dare even to be so bold as calling it his best work so far. Yes even better than Children of Dune… or is it? In any case, this is extremely inspiring and has a nostalgic, but modern feel about it. I really can’t recommend this score highly enough.

Best cues: Jaybird, The Lazarus Project, The Lazarus Project End Title

Critics Say: 80/100 (6^th best score so far this year). Critics love it, so do I!

My review: The Lazarus Project Soundtrack Review

01. Transformers: Revenge of the Fallen by Steve Jablonsky

Like you didn’t know? I think I’ve almost broken my mp3-player which is now strangely avoiding this score in my random playlist. No wonder, because this has been going non-stop since I’ve first heard it. I love it so much, and I can’t believe Jablonsky bettered the original. It was a tough and bold decision to take away some of the thematic from the first cue and replacing it with bigger and bolder, yet somewhat experimental cues, but it paid off!

Best cues: Nest, The Shard, I Claim Your Sun

Critics say: 64/100 (25^th best score so far this year). Pfff, what do the critics know anyway!

My review: Transformers: Revenge of the Fallen Soundtrack Review

Tomorrow I will do part 3 which will be called THE WORST!

Other scores I recommend you listen to:

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Hi everyone, I have been rustling the old archives and re-listened to some of the great scores of 1990 and compiled a list of 3 soundtracks I think everyone should have in their collection. These are some of my favorites from that year. I would love to hear your opinions. What are your great scores from 1990?

Here are my 3:

Dances With Wolves (John Barry)

This sweeping epic drama score by John Barry is one of the great scores of all time in my opinion. It has the most grandest of themes in ‘The John Dunbar Theme’ which is probably on a million “relaxing mood” cd’s. It is a very easy to just pick this up and start listening and just relax to the wonderful music presented here. If big horns, wonderful themes and epic sounding music is your thing, then you need to own this.

Highlights: The Buffalo Hunt, John Dunbar Theme, Journey to the Buffalo Killing

Music From Twin Peaks (Angelo Badalamenti)

This is the third soundtrack I bought and I did it for one reason. The super-catchy main theme of the television show Twin Peaks which was on Norwegian TV at the time. There was a lot of hype around this series and it was so fascinating. It was my first introduction to David Lynch and I immediately fell in love with the jazzy and funky music. So many great memories on this one like the little red dream man dancing. A lot of firsts, but this was also the first score by Angelo Badalamenti that I listened to.

Highlights: Twin Peaks Theme, Dance of the Dream Man, Laura Palmer’s Theme

Total Recall (Jerry Goldsmith)

One of my favorite Jerry Goldsmith scores. It has great action cues like ‘The Big Jump’ and ‘End of a Dream‘ while also having a few fleeting cues like ‘First Meeting’. It has a lot of nostalgia, but I love the main theme ‘The Dream’, which is a reminder of the electronic 80s.

Highlights: The Dream, The Mutant, The Big Jump

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It was not a great year for mainstream film scores.  A good year, for sure, since I had 23 scores getting an 8 or higher, but only one major Hollywood score earned a ten, and only one other from that pack got a nine, a severe dropoff from last year’s 8 (and 13 total including foreign and video game scores).  James Horner released three disappointing efforts while John Powell only pulled two strong scores out of the six(!) he did (though only Jumper was a clunker).  Indy 4 wasn’t the equal of its predecessors, nor did Desplat take any of his scores as high as his score for The Golden Compass had gone (don’t take that as major criticism since all three of those scores are still fine efforts).  The three most talked about scores of the year ended up being Slumdog Millionaire, which, while decent, is so song-dominated that I don’t know how one grades it as a “score”; Iron Man, a guilty pleasure that managed to break less ground in the superhero genre than Batman Begins did; and The Dark Knight, probably the most divisive score since Titanic, and for my money a massive disappointment (oh, the comment sniping that shall ensue!).

I think this year represents both how I have changed and the transition period that film music as a whole is in.  When one starts out, it’s always the big name composers you look to for the your truly great scores, but that path isn’t as solid anymore.  Williams supposedly had his last hurrah while Zimmer keeps saying he’ll go on hiatus soon, just to name a few cases.  Yet my film music interest never ballooned until I broke outside the standard mainstream, delving into composers like David Arnold, Don Davis, Alexandre Desplat, and Michael Giacchino.  Similarly, this year required that kind of branch out to truly gain appreciation as I picked up my first scores from Joe Hisaishi and Trevor Shapiro, finally delved into television music, and really started to appreciate Brian Tyler.  We were treated to strong mainstream debuts from Andrew Lockington and Tuomas Kantelinen.  And the international sphere, whether British, French, or Japanese, gave us some of the year’s finest.  So, while the year was not great, it was not a massive disappointment either, and I see much promise in the future.  With that musing, here’s the top ten on the year.

10.  Quantum of Solace

Yes, it’s Arnold’s weakest Bond score.  Yes, the song is not “classic 007.”  Still, the work is still strong and is probably his most consistent listen.  Action cues delight as per any Arnold score, but it’s the density and texture that’ll impress most.

9.  Hellboy II: The Golden Army

Grand return to Elfman’s gothic stylings.  Wide spectrum of sounds from the pounding brassy action to the gorgeous fiddle work and the emotional choral finale.  Strong texture slightly impeded by lack of strong main thematic identity found in its predecessor, but still an impressive return to form

8.  The Incredible Hulk

The score that’s too smart for its source material, Armstrong’s music is both tender and menacing.  Light piano work and an appropriately restrained love theme contrast well with the three-note bellowing and constantly propelling action material.  Certainly one of the best examples of duality in a superhero score

7.  Wanted

Pinnacle of a quality year for Elfman.  What do you choose to get enjoy most?  The Slavic stylings of the fantastic Success Theme?  The superb fusion of electronics and orchestra?  The addictive bass of “Exterminator Beat?”  The great vocals in the Fox cues?  The superb action rhythms that never let up?  Tons of fun and never stale, the score we all wanted Mission: Impossible to be.

6.  Speed Racer

Sure, it veers all over the place and will probably wear most listeners down.  But Giacchino does so many different things with the original Speed theme that you’ll find a new one each time.  There’s a consistent retro cool here exemplified by a strong bass presence.  “Casa Cristo” is a rush, while “Let Us Drink Milk” will stun with its choral majesty.  Best heard in the complete score.

5.  Doctor Who Series 4

Contains the most wonderous material of the year, with “Voyage of the Damned Suite” and “The Greatest Story Never Told” maintaining their majesty for lengthy running times.  The action is driving and fun, while the softer moments stretch from fine string work to enrapturing choral passages.  A shocker for a TV score, and with a real thematic identity it could’ve been a classic.

4.  Eagle Eye

A relentless thrill ride, the rare score that can hammer you for so long and yet have you begging for more.  Tyler’s relentless action is taken to its most powerful heights with rampant brass and a superb percussive and electronic layer.  Simple themes indeed, but Tyler permutes them in so many ways you don’t care.  Think an angry fusion of the best of Media Ventures, the Bourne scores, and Don Davis.

3.  Mongol

It requires the most patience of any score on the year, but it’s one of the most rewarding.  Fantastic slow buildup of the main theme leads to powerful statements in the final cues.  A dazzling array of ethnic orchestrations and chanting vocals can bring about a meditative lull like few other scores while thrilling you in equal measures (“Joy in Mongolia”).  A real wonder of an epic score that has only minimal (though still fine) action.

2.  Journey to the Center of the Earth

I emerged from the film exclaiming “Who wrote that awesome music?”  Lockington’s smashing mainstream debut is a classic adventure effort, with its soaring brassy main theme (dig that “Building the Raft”), moments of choral, sweeping wonder (“The Center of the Earth”), and rampant, richly orchestrated action (“Storm”).  Fans of David Arnold’s epic scores in the 90s will be dazzled by what orchestrator Nicholas Dodd adds.  A surprise treat and hopefully a sign of things to come.

1.  Ponyo on the Cliff by the Sea

WOW.  Any score that is a certainty to climb into my top 20 after a first listen is…well, a REALLY amazing feat.  Ponyo contains so much wonder and joy in each cue you think it’s about to explode with childlike exuberance.  A score climbs the whole emotional ladder from sorrow to amazement to high-flying brilliance.  With no truly unsettling or boring moments, it’s the rare score that appears to have universal appeal.  So wrenching it is to pick highlights, but the rich tapestry of “Deep Sea Ranch”, the soulful operatic solo in “Mother of the Sea”, and the racing brass segwaying into a grand Ride of the Valkyries salute in “Ponyo of the Fish of the Wave.”  A great way to get into Joe Hisaishi, which I will spend the next month doing now that I’ve closed the book on last year.

20 Pieces of Required Listening
Building the Raft, Storm – Journey to the Center of the Earth
Casa Cristo, Let Us Drink Milk – Speed Racer
Clutch Then Shift – Eagle Eye
Deep Sea Ranch, Mother of the Sea, Ponyo of the Fish of the Wave – Ponyo on the Cliff by the Sea
Jungle Chase (Extended Rip) – Indiana Jones and the Kingdom of the Crystal Skull
Mountain Chase, Horton Suite/A Big Ending – Dr Suess’ Horton Hears a Who!
Roar! (Cloverfield Overture) – Cloverfield
Scooter Chase – Bolt
Shifu Faces Tai Lung – Kung Fu Panda
Success Montage – Wanted
SUV Chase – Hancock
Voyage of the Damned Suite, The Greatest Story Never Told – Doctor Who Series 4

Six “Next Year, Baby!” moments
1.    A relative breather for John Powell.  Only two scores on the year instead of six.  Will it result in more consistency?
2.    Andrew Lockington has no assignments yet.  WHY?!  I exuberantly look forward to whatever he gets.
3.    Alexandre Desplat will score the Tree of Life, the new film by Terrance Malick.  As Hans Zimmer and James Horner can testify, scoring a film by this director can be a chop-shop ordeal.  A project where the drama is almost as interesting as the score
4.    Brian Tyler’s April.  Dragonball:Evolution and Fast and Furious are released within 5 days of each other.  Given his three robust efforts for 2008 (all getting 8 or 9 from me), I’m salivating.  Time to go pick up Tokyo Drift for a refresher course
5.    Avatar.  Yes, James Horner had a down year, but given that he was working on Avatar the whole time, that should bode well for this.  Need I remind y’all of what happens when he works with James Cameron?  Aside from fighting?  Or maybe I should point out what happens when Horner and sci-fi gets together.
6.    Giacchino is going to be huge.  Land of the Lost.  Up, from the animation factory that always gets his best film work.  Oh, yeah, and that little thing called Star Trek.

Four “For Sure” projects (feel free to tell me to look elsewhere)
1.    Medal of Honor.  Two published, two more written, plenty more quality to go!
2.    Star Trek movies.  Will be finished just in time for the film
3.    Star Wars.  Films and related video games that we haven’t reviewed yet
4.    Go back over 2007’s list and see if I’ve changed.  Reviewing does change how you listen.  Was I right on all accounts?  Ultimately I’ll expand this to every score, but I will at least publish my changes for that year once I’m done

Two problems I need to amend for 2009 scores.
1.    I listened to only one video game score on the year, a travesty given the exceptional heights achieved in 2007 (Lair, Halo 3, MOH:A).  Time to get back on the wagon.
2.    More TV music.  I like Lost’s score as heard in show.  Doctor Who: Series 4 was awesome.  Bear McCreary gets more hyped by the month.  Clearly I need to expand my horizons.

Suggestions?  Criticisms?  Debates?  Fire away.

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Recently I crosschecked 22 websites that review film scores (Including this site) and made a list over the 58 best film scores released in 2008 according to film music critics. What is a critic anyway? It’s people like me who without scruples say what they want about people’s hard work. Well I decided to only use sources I use and trust. Furthermore I decided that a film score would only be eligible if it had at least 4 reviews. That’s a pretty decent sample size I thought so that’s that. The sources I used: Soundtrack Magazine, ScoreNotes, Filmtracks, Movie Music UK, Music From The Movies, Tracksounds, SoundtrackNet, IGN Music, MovieWave, Maintitles, The Score Blog, ORG Scores, BSO Spirit (Spanish), Score Magacine (Spanish), Cine & BSO (Spanish), Moviemotion (Dutch), Colonne Sonore (Italian), Soundtracks.pl (Polish), MuzykaFilmowa, (Polish), Filmmusik 2000 (German), Cinemascope (Greek)

Let’s begin the countdown! (This might be bandwidth heavy, but click away!)

#58	The Mist Mark Isham
SCORE: 43/100	[asa facts]B0010DJ1VK[/asa]     [asa default3]B0010DJ1VK[/asa]

#57	The Day the Earth Stood Still Tyler Bates
SCORE: 43/100	[asa facts]B001JKYGYG[/asa]   [asa default3]B001JKYGYG[/asa]

#56	Body of Lies Marc Streitenfeld
SCORE: 47/100	[asa facts]B001FBSMX0[/asa]   [asa default3]B001FBSMX0[/asa]

#55	Twilight Carter Burwell
SCORE: 47/100	[asa facts]B001JL43NO[/asa]   [asa default3]B001JL43NO[/asa]

#54	Vantage Point Atli Orvarsson
SCORE: 53/100	[asa facts]B0012X6FYE[/asa]   [asa default3]B0012X6FYE[/asa]

#53	Iron Man Ramin Djawadi
SCORE: 55/100	[asa facts]B00175G6Q4[/asa]   [asa default3]B00175G6Q4[/asa]

#52	27 Dresses Randy Edelman
SCORE: 56/100	[asa facts]B0011V7OZG[/asa]   [asa default3]B0011V7OZG[/asa]

#51	Jumper John Powell
SCORE: 56/100	[asa facts]B0012OTVBC[/asa]   [asa default3]B0012OTVBC[/asa]

#50	Changeling Clint Eastwood
SCORE: 56/100	[asa facts]B001HADFG8[/asa]   [asa default3]B001HADFG8[/asa]

#49	The X-Files: I Want To Believe Mark Snow
SCORE: 58/100	[asa facts]B001AKTZSM[/asa]   [asa default3]B001AKTZSM[/asa]

#48	Sleepwalking Christopher Young
SCORE: 58/100	[asa facts]B0014BQR88[/asa]   [asa default3]B0014BQR88[/asa]

#47	Meet Dave John Debney
SCORE: 59/100	[asa facts]B001AI1QYA[/asa]   [asa default3]B001AI1QYA[/asa]

#46	The Life Before Her Eyes James Horner
SCORE: 59/100	[asa facts]B00160ANRI[/asa]   [asa default3]B00160ANRI[/asa]

#45	Leatherheads Randy Newman
SCORE: 59/100	[asa facts]B0014DC1CM[/asa]   [asa default3]B0014DC1CM[/asa]

#44	Fool’s Gold George Fenton
SCORE: 61/100	[asa facts]B0013LL0CW[/asa]   [asa default3]B0013LL0CW[/asa]

#43	Get Smart Trevor Rabin
SCORE: 61/100	[asa facts]B0019H9WF2[/asa]   [asa default3]B0019H9WF2[/asa]

#42	Burn After Reading Carter Burwell
SCORE: 61/100	[asa facts]B001DZN5W6[/asa]   [asa default3]B001DZN5W6[/asa]

#41	The Mummy: Tomb of the Emperor Randy Edelman
SCORE: 62/100	[asa facts]B001BTZNTC[/asa]   [asa default3]B001BTZNTC[/asa]

#40	The Duchess Rachel Portman
SCORE: 63/100	[asa facts]B001DZN60C[/asa]   [asa default3]B001DZN60C[/asa]

#39	Appaloosa Jeff Beal
SCORE: 63/100	[asa facts]B001EN5I9K[/asa]   [asa default3]B001EN5I9K[/asa]

#38	Eagle Eye Brian Tyler
SCORE: 63/100	[asa facts]B001EW3DF2[/asa]   [asa default3]B001EW3DF2[/asa]

#37	Stop-Loss John Powell
SCORE: 64/100	[asa facts]B0014DC1D6[/asa]   [asa default3]B0014DC1D6[/asa]

#36	The Great Debaters James Newton Howard & Peter Golub
SCORE: 64/100	[asa facts]B000ZIZ0YS[/asa]   [asa default3]B000ZIZ0YS[/asa]

#35	Nim’s Island Patrick Doyle
SCORE: 65/100	[asa facts]B0014DC1CW[/asa]   [asa default3]B0014DC1CW[/asa]

#34	Horton Hears a Who! John Powell
SCORE: 65/100	[asa facts]B0014DC1CC[/asa]   [asa default3]B0014DC1CC[/asa]

#33	The Happening James Newton Howard
SCORE: 65/100	[asa facts]B0018Q7K76[/asa]   [asa default3]B0018Q7K76[/asa]

#32	Hellboy II: The Golden Army Danny Elfman
SCORE: 66/100	[asa facts]B001B0G6D8[/asa]   [asa default3]B001B0G6D8[/asa]

#31	Valkyrie John Ottman
SCORE: 66/100	[asa facts]B001JKYGYQ[/asa]   [asa default3]B001JKYGYQ[/asa]

#30	Doomsday Tyler Bates
SCORE: 66/100	[asa facts]B0014567L6[/asa]   [asa default3]B0014567L6[/asa]

#29	10,000 B.C. Harald Kloser & Thomas Wander
SCORE: 66/100	[asa facts]B0013DI4BK[/asa]   [asa default3]B0013DI4BK[/asa]

#28	Kung Fu Panda Hans Zimmer & John Powell
SCORE: 67/100	[asa facts]B0018Q7K5S[/asa]   [asa default3]B0018Q7K5S[/asa]

#27	The Other Boleyn Girl Paul Cantelon
SCORE: 67/100	[asa facts]B0012X6FXU[/asa]   [asa default3]B0012X6FXU[/asa]

#26	Hancock John Powell
SCORE: 67/100	[asa facts]B001AGGUHU[/asa]   [asa default3]B001AGGUHU[/asa]

#25	Untraceable Christopher Young
SCORE: 68/100	[asa facts]B0010V4TBY[/asa]   [asa default3]B0010V4TBY[/asa]

#24	American Gangster Marc Streitenfeld
SCORE: 68/100	[asa facts]B0012IWJ9O[/asa]   [asa default3]B0012IWJ9O[/asa]

#23	Rambo Brian Tyler
SCORE: 68/100	[asa facts]B00126WY14[/asa]   [asa default3]B00126WY14[/asa]

#22	In Bruges Carter Burwell
SCORE: 68/100	[asa facts]B0011O9UXW[/asa]   [asa default3]B0011O9UXW[/asa]

#21	Quantum of Solace David Arnold
SCORE: 69/100	[asa facts]B001ESYAJY[/asa]   [asa default3]B001ESYAJY[/asa]

#20	The Chronicles of Narnia: Prince Caspian Harry Gregson-Williams
SCORE: 71/100	[asa facts]B0015HZAP2[/asa]   [asa default3]B0015HZAP2[/asa]

#19	Bolt John Powell
SCORE: 72/100	[asa facts]B001EQUETG[/asa]   [asa default3]B001EQUETG[/asa]

#18	Frost/Nixon Hans Zimmer
SCORE: 72/100	[asa facts]B001KZBKDK[/asa]   [asa default3]B001KZBKDK[/asa]

#17	The Bucket List Marc Shaiman
SCORE: 73/100	[asa facts]B00114XRQ8[/asa]   [asa default3]B00114XRQ8[/asa]

#16	Speed Racer Michael Giacchino
SCORE: 73/100	[asa facts]B00175G7MC[/asa]   [asa default3]B00175G7MC[/asa]

#15	The Dark Knight Hans Zimmer & James Newton Howard
SCORE: 73/100	[asa facts]B0017I1FP8[/asa]   [asa default3]B0017I1FP8[/asa]

#14	Wall-E Thomas Newman
SCORE: 73/100	[asa facts]B0017LFKMY[/asa]   [asa default3]B0017LFKMY[/asa]

#13	Wanted Danny Elfman
SCORE: 74/100	[asa facts]B0019Y8G5M[/asa]   [asa default3]B0019Y8G5M[/asa]

#12	Tropic Thunder Theodore Shapiro
SCORE: 74/100	[asa facts]B001B093W4[/asa]   [asa default3]B001B093W4[/asa]

#11	Journey to the Center of the Earth Andrew Lockington
SCORE: 74/100

#10	I Am Legend James Newton Howard
SCORE: 74/100	[asa facts]B00114XRQI[/asa]   [asa default3]B00114XRQI[/asa]

#9	The Spiderwick Chronicles James Horner
SCORE: 75/100	[asa facts]B00120H3RU[/asa]   [asa default3]B00120H3RU[/asa]

#8	Surf’s Up Mychael Danna
SCORE: 75/100	[asa facts]B0013LCV48[/asa]   [asa default3]B0013LCV48[/asa]

#7	Bangkok Dangerous Brian Tyler
SCORE: 75/100	[asa facts]B001DZLAWS[/asa]   [asa default3]B001DZLAWS[/asa]

#6	The Incredible Hulk Craig Armstrong
SCORE: 76/100	[asa facts]B0019SMSUM[/asa]   [asa default3]B0019SMSUM[/asa]

#5	The Forbidden Kingdom David Buckley
SCORE: 76/100	[asa facts]B001CHH71U[/asa]   [asa default3]B001CHH71U[/asa]

#4	Indiana Jones and the Kingdom of the Crystal Skull John Williams
SCORE: 77/100	[asa facts]B00171MNM4[/asa]   [asa default3]B00171MNM4[/asa]

#3	City of Ember Andrew Lockington
SCORE: 78/100	[asa facts]B001HQIERC[/asa]   [asa default3]B001HQIERC[/asa]

#2	Defiance James Newton Howard & Joshua Bell
SCORE: 82/100	[asa facts]B001IQDAVG[/asa]   [asa default3]B001IQDAVG[/asa]

#1	The Curious Case of Benjamin Button Alexandre Desplat
SCORE: 83/100	[asa facts]B001KZBKD0[/asa]   [asa default3]B001KZBKD0[/asa]

So it was The Curious Case with it’s 6 reviews (so far) spanning from a score of 60 to 100 that is the best liked among film music critics 2008. This list is by no means final and it can of course never be because reviews of 2008 scores can come in 2009 as well as 2012. Saying that, it’s quite interesting to see this list and I am surprised that some scores are so high and some so low. There are more scores in 2008 like Slumdog Millionaire, Passengers, Seven Pounds, Largo Winch, Revolutionary Road, The Spirit, Che, The Tale of Despereaux, Let The Right One In, Loft, The Visitor, Max Payne, Babylon A.D., Flash of Genius, Death Race, Milk, Mongol and others that I couldn’t find at least 4 reviews for. Maybe I will come with an update later on when I have more data, so take this list as you wish, but I’m sure it’s an interesting read.

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2008 has been a year of contrast for me as you can see in the list below. There has been immense thrilling action music and there has been minimalistic heart warming pieces. To gather just 10 pieces of music to be included in this list has been an almost impossible task when I had almost 100 excellent tracks to choose from. I have finally decided on my top 10 which will no doubt change tomorrow. In fact, I only included some of these in the last minute and changed as I went along. Music taste will change from time to time and in my case quite often, but there is no doubt that the 10 I have chosen have special meaning to me, so here are my top 10 cues of 2008.

10. “Hulk Theme” by Craig Armstrong

The Incredible Hulk needed a powerful score and Craig Armstrong delivered a massive 2CD package which did the green giant justice. Of course like every superhero, The Incredible Hulk needed a theme, and what a theme “Hulk Theme” has become. It starts off in Godzilla-like fashion saying one thing: We’re dealing with a powerful monster here. Then the brilliant use of strings is so refreshing and I’ve seldom heard it used like this.

9. “Gee and Gray Together in Bath” by Rachel Portman

Rachel Portman had a rest in 2007 and it did her a world of good because the thematic and powerful score to The Duchess screamed excellence and with a beautiful and memorable theme. This theme was used throughout the score and I feel that in the cue “Gee and Gray Together in Bath” it accomplished something great with these small variations.

8. “Final Battle: Death by Arrows” by Tuomas Kantelinen

Mongol Soundtrack Here!

The fine score to Mongol impressed me a lot and it had many highlights. One of them was “Final Battle: Death by Arrows” with its warm strings and Mongolian chants. It easily makes this cue one of the year’s best.

7. “Tim’s Eyes” by Angelo Milli

Seven Pounds Soundtrack Here!

Angelo Milli’s excellent film score to the movie Seven Pounds has so many amazing cues that it was hard to choose the one to put in this list, but there was no doubt that there had to be at least one. The choice fell on “Tim’s Eyes” which I thought represented all the best in this soundtrack. It has an amazing repertoire of feelings with the underscoring of strings with the chilling piano solo on top. Subtle, minimalistic and excellent.

6. “A Dark Knight” by Hans Zimmer & James Newton Howard

I think a lot has been said about The Dark Knight, and I think you all know my opinion. It surpassed my expectations and it had few weaknesses. One of its strengths was a 16 minute long cue called “A Dark Knight” which I thought was the best on the score. It has pretty much everything and the way the music just slides up and down in strength is a marvellous way of pleasing my musical tastes.

5. “Your Wife” by James Newton Howard & Joshua Bell

What an emotional piece by James Newton Howard and Joshua Bell! I swear that Jushua Bell has some kind of magic violin, because the sound he produces is magnificent. The collaboration with James Newton Howard is wonderful, especially in this heart warming piece which has warmth and feelings in spades.

4. “Assassin” by Brian Tyler


Bangkok Dangerous Soundtrack Here!

I’ve said it before and I’ll say it again. When it comes to action, there is none better than Brian Tyler at the moment. I present to you this year’s best action cue called “Assassin” from “Bangkok Dangerous”. Right from the start it blows you away with forceful strings and percussion which will have you screaming for loud action movies.

3. “Silently Yearning for Centuries” by Randy Edelman


The Mummy: Tomb of the Dragon Emperor Soundtrack Here!

When it comes to themes, there are few better than Randy Edelman who in the past has created masterpieces like Dragonheart, Dragon: The Bruce Lee Story and of course The Last of the Mohicans. With the magnificent The Mummy: The Tomb of the Dragon Emperor he gave us so much joy and the cue “Silently Yearning for Centuries” is up there with the best he has ever produced. A powerful Chinese sounding theme with gorgeous strings.

2. “What do you remember?” by Edward Shearmur


Passengers Soundtrack Here!

This thriller movie was quite clever, but not as clever as Edward Shearmur’s score. Passengers had a minimalistic score, and Edward Shearmur was a great choice. Remember the simplicity and excellence of K-Pax? This might be even better and certainly the cue “What Do You Remember?” is worthy of a bout with “Grand Central” from K-Pax. I can’t describe the beauty of this song, it’s just something you have to listen to.

1. “Battle Adagio” by Brian Tyler


Rambo Soundtrack Here!

There’s not many times (read: never) that I have cried to Brian Tyler’s composing efforts no matter how good they are, but this one has me reaching for tissues whether I’m listening to it on the stereo or while watching Rambo. “Battle Adagio” takes you right into the heart of war-torn Burma and give the suffering men, women and children a face from the mesmerizing human voice singing to the amazing string ensemble. It also portrays a hero with a bit of sadness in a perfect way. Bravo Mr. Tyler! Grab your tissues everyone!

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With Soundtrackgeek still in roundup mode, I thought it was about time I put my flag to the mast and came up with a top 10 list of the film scores released in 2008 I thought were amazing. The average of my internal score database reveals to me that I have an average rating of 6.9 for all the scores released in 2008. That’s quite respectable and 17 film scores I gave 9 or better. I have rated 123 scores in 2008 from a rating of 2 until the maximum 10 which I gave to 4 movies.

#10. Max Payne (Marco Beltrami & Buck Sanders)

“It’s dark and gritty and I feel it connects on more than just a superficial level but touches your soul” Review

#9. Death Race (Paul Haslinger)

“Your pulse will be racing and DO NOT listen to it while driving, even though your car is an old crappy Datsun Nissan 1982 model, In fact, it should come with a warning label” Review

#8. Passengers (Edward Shearmur)

“Edward Shearmur sneaks in with this amazing score that is possibly his best to date with fierce competition from K-Pax. Incredibly forceful no over-the-top production but a subtle touch of excellence.”

#7. The Life Before Her Eyes (James Horner)

“The real fans can enjoy this for years to come, but it won’t be a bestseller which it truly deserves to be” Review

#6. Bangkok Dangerous (Brian Tyler)

“Brian Tyler delivers yet again a great action score in Bangkok Dangerous and he has reclaimed his spot as the number one action composer” Review

#5. The Chronicles of Narnia: Prince Caspian (Harry Gregson-Williams)

“It is like the first soundtrack grew up and realized there is a complicated dark world out there” Review

#4. The Dark Knight (Hans Zimmer & James Newton Howard)

“The Joker will live forever through this score and The Dark Knight will remain the hero by everyone who loves movie scores” Review

#3. Seven Pounds (Angelo Milli)

“Seven Pounds is clearly one of the best film scores of 2008 and everything from the haunting main theme to the subtle underscoring is near perfect”

#2. The Duchess (Rachel Portman)

“I feel that Rachel Portman has crafted a score so powerful that nominations should be lining up. This could indeed be this year’s “Atonement“, and I have to say I like this score a lot better.” Review

#1. The Mummy: Tomb of the Dragon Emperor (Randy Edelman)

“The fun-filled imagination of Randy Edelman makes this score an instant winner and it’s easy to give top marks to one of the most entertaining pieces of music seen this year (or any year).” Review

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