After his almost nightmarish excursion into the realm of horror and horror genres ("Chillers"), Erich Kunzel puts its way through the seemingly endless benefice Fantasy Film merrily continued and largely better itinerary has this time selected. So already surprised actually deterrent from buying musical monstrosity Danny Elfman - one dares hardly even "Batman I" written in full - so that it has become bearable form of a suite. This is a fact that it is long barely a quarter of an hour, not only contains noise (the word "balance" is to me still a little too daring) and tight ultimately by Kunzel conducting, which is for the whole program of significance something more is gaining contour. In the rest of the program will be reveled in an entertaining way in big orchestral bombast, which the listener may have indeed largely familiar from the soundtracks, but - as far as it is this kind of film music - the sound technique and interpretative outstanding new recordings should not be missed. So sound especially Goldsmiths overture of "The Twilight Zone" - which still can Kunzel abgewinnen some additional niceties -, Williams "Escape from Venice" from "Indiana Jones III" and also Safans "Last Starfighter" far fresher than the original recordings. Among the more sophisticated - and more important - pieces on this CD include Mr. Mans "Outer Space" from the "date on which the Earth Stood Still" and a piece from Norths "Dragonslayer" (unfortunately only the end-Title!). Especially in the case of Herrman succeeds Kunzel both in the choice of tempo, as well as in the sound to make the finely textured orchestration (by the way a pure reminiscence of Messiaen's "Turangulila") for the first time completely audible. The new publications on this production by contrast include only the short theme music Leith Stevens score for "War of the Worlds" and a five-minute suite from Broughton vielgesuchtem "Moonwalker" which presents itself as a fairly conventional sci-fi symphonic 80s, while Stevens moves at Idiomstyp 50s. Skips to in this otherwise enjoyable mixture (as nice sprinklings are still the main themes of "Boy Who Could Fly", "Beastmaster" and Explorers "to hear) the completely übersüßte - you get probably already from mere listening caries - Stamped with text version of "Carol Ann's Theme" from "Poltergeist" (understandable that Kunzel has not yet ventured with his orchestra to the rest of this composition!), you will be rewarded in any case with a technically sound hyper outstanding audio results.
