First the good cues: If one of the Danna (especially Mychael) has its finger in the pie, you get Delikates. Take the beautiful, classical "Being Julia" or the Indian dipped "Water". David Shire ("Zodiac") is, James Horner (sad and very moving: the piece of "House of Sand and Fog") and David Newman with the western liable, unfortunately a bit short "Serenity". There are more pieces that can even almost delight. As there would be "Mr. Wonder Emporium Magorium`s", here a nice waltz by Alexandre Desplat. Then even the Main Title from "The Good German," Thomas Newman in Herrmann mode. Certainly goes Rachel Portman good ear. It is so on it as usual. Anyone who knows their stuff, yawning behavior who they rediscovered, hops and jumps.
And now the unedifying: Goldsmith leiert themselves out with "Star Trek: Nemesis" and draws attention to "Gremlins 2" in his last score ("Looney Tunes ..."). Hans Zimmer is us African, like many others, and is not too bad (but it bored well), even James Newton Howard is showing two minutes African choral singing, embedded in an instrumental environment, sometimes appealing his ("Blood Diamond "). But with it starts the whole thing. The fairytale Feelgoodschmuswerk "Peter Pan", at least the cue called "Flying" is just lousy. Cheap sounding electronics, a thousand times better already heard - how can you deliver just such a thing? The two great newcomers Marianelli and Beltrami are not just represented with demonstrable, the pieces of "I, Robot" or "Goodbye Bafana", not to speak of "Hellboy" are two classes Elmer Bernstein or John Williams. A proper zero number who wants explosive fun, but most imploded, is the cue of "Flight of the Phoenix", which somehow will be "Planet of the Apes" and stuck in no man's land between computers send Beat and sterile string remains.
Downright awful: The slope of many composers to employ choirs which then "Russian" sound will seem magical. Even Silvestri makes, Chris Young (bad: "Ghost Rider") or Harry Gregson-Williams. Choirs annoy me increasingly. Mark Isham can nevertheless be carried away for a short time with this stupid Zebra film "Racing Stripes" and then for Robert Redford again sedative to act ("Lions for Lambs"). Gabriel Yared is nevertheless solid and three times represented (even with "The Lives of Others"). At first I thought, "The Astronaut Farmer" of a certain Stuart Matthewman could include a spark of originality with these Gamelanklängen, but far from it. Worst of all, but since I will disagree with some, is the fusion of rock, hip hop and orchestral storm as it is drilled in "... Tokyo Drift", more than seven minutes. Too bad also that Craig Armstrong was unable to renounce simplest drums in "The Quiet American". Most annoying are the contributions of Robert Rodriguez - what does that have to do with film music?
I veer, I'm getting older. I can not stand this garbage simple. If "depth" should be suggested, it is actually pretty flat (John Powell: "Dedication" of "United 93"). I no longer understand the world. That should be all good music? A new millennium will usher? Of course, it is worth buying anyway, because this price is unbeatable. But Varese has its best times behind itself. Nowadays there is more sporadic, published almost accidentally interesting, amidst a sea of pompous, murmuring flat sense.
