Articles related to "Up Score Review"

Some of the most stirring action music this year has been composed by a talented young woman, working with themes composed by an established master.

In a franchise with a traditionally rich musical history, Nicholas Hooper's music serves its purpose but fails to draw much attention to itself even on album.

Another animated film has been graced with a worthy John Powell score, and once again he delivers the goods with trademark warmth and high style.

Desplat's excellent score is a rich Gothic masterpiece, perfectly capturing the doomed romance and menacing grandeur of the saga's newest film.

Writing in the small-scale mode that brings out his best music, Burwell's intimate music for "Where the Wild Things Are" is a score of deep emotion and striking clarity.

Alan Silvestri's latest soundtrack for director Stephen Sommers is filled with thrills and adrenaline, but lacks the structure and focus to make it fully satisfying.

Resoundingly deep orchestrations, impressive choral work and raw ethnic beauty define this unexpected film score pleasure.

In a glorious throwback move, Gabriel Yared has composed a thoroughly old-fashioned drama score of both soaringly epic and intimately romantic proportions.

Zimmer delivers his most definitive score yet with "Angels & Demons," which incorporates nearly all of his trademark styles into one massively engrossing score.

Thanks to La-La Land Records, Shirley Walker's stirring and coveted music for Batman: The Animated Series, has finally seen the light of day.

James Horner's latest score follows many of his established tendencies, but with remarkable grace and emotional power.

Henry Selick's marvelously dark and novel stop-motion film has received an appropriately bizarre but incredibly enticing score from veteran composer Bruno Coulais.

James Newton Howard has crafted a subdued score which, combined with Joshua Bell's exquisite solos, displays a quiet, refined beauty.

Full of Hisaishi's trademark charm, the restrained score is one of 2008's hidden film score gems, and an easy recommendation for any admirer of Joe Hisaishi.

New to the Hollywood scoring scene, Clinton Shorter's heavy-handed score for District 9 is a solid, though in no way splashy, debut effort.

Howard Shore's recent score to Doubt shows him at his most subdued and intimate, at the expense of any flashy or even memorable development.

Chris Young's massive score to Sam Raimi's latest horror comedy is slathered in huge choral chants, dreadfully beautiful violin solos and terrifying crescendos.

The industry's most capable young action composer has delivered yet another thrilling score, which only suffers from a style firmly in his comfort zone of composition.

James Newton Howard is known for his solid orchestral scores for fantasy and psychological thrillers, but in "Duplicity" he branches out in a stylish new direction.

Brian Tyler continues to dominate the orchestral action music scene with his ultra-cool, thrill-ride score to Fast & Furious.

Joe Hisaishi has woven another masterful musical tapestry for a live-action period drama.

Alexandre Desplat's thrilling new score to Jerome Salle's Largo Winch is refreshing, catchy, and very nearly singular in his career.

Proving his talent for unique composition in yet another foreign film, Klaus Badelt's score is a colorful, joyous romp.

Theodore Shapiro, gaining fame for his solid comedy scores, has written a largely predictable but entirely enjoyable score for David Frankel's recent comedy.

Richard Wells delivers a surprisingly engaging score for a less-than-original science fiction/horror film.

Utilizing a bewildering array of instrumental colors and musical genres, Winifred Phillips' score is an adept and dexterous musical romp through the world of Spore.

For the newest film in the illustrious 'Star Trek' franchise, Giacchino has composed a thrilling and noble score whose only disappointing quality is its length on album.

After his bombastic score for "Terminator Salvation" and his majestic themes for "9", Elfman delivers a completely unexpected score for Ang Lee's "Taking Woodstock."

Elfman has written a muscular score which merely flirts with the sound of the original Terminator scores, while maintaining a powerful, original identity.

The new film version of the well-known Hulk story largely ignores Ang Lee's 2003 adaptation, and this applies to the music as well.

After his first large-scale score for Stardust, Ilan Eshkeri presents an elegant score for The Young Victoria which is largely influenced by existing classical pieces.

In only his second mainstream film score, newcomer film composer Douglas Pipes has firmly reestablished the beloved sound of giant orchestral suspense and horror.

Giacchino's latest score for Pixar Animation Studios displays his talent for charming melodies, high adventure and enchanting nostalgia once again.

Marcel Barsotti's dramatic score is saturated with deep orchestral harmonies, rich early-music orchestrations and sublime choral work.

Baz Luhrmann's sprawling epic "Australia" is just the sort of film to inspire greatness from any composer, yet Hirschfelder's score feels regretfully uninspired.

It's not difficult to run into tough times. Depending on the length of time, credit bureau scores can be affected. The road to rebuilding credit is not an easy one.

Using a strong combo of ethnic percussion and chants, electronics, and a massive orchestra and chorus, Horner's latest score is a thrilling pinnacle of his career.

Using "Julie & Julia" to pen some of his breeziest melodies yet, Alexandre Desplat's music is full of zesty French charm, undemanding and constantly cheerful.

Peterson's fantastic debut score album reveals an unabashed sense of deeply somber dramatism, strong action technique and fluid classical romanticism.

The music of Batman has gone through many changes over the years, but none as controversial as the new music for Nolan's interpretation of the Caped Crusader.

Silvestri's "A Christmas Carol" overflows with rich Christmas orchestrations, liberal use of traditional carols, and a knockout celebratory main theme.

In one of his strongest scores to date, John Ottman provides stunning adventure music of the highest order.

In what would seem to be a perfect vehicle for his unique compositional voice, Desplat provides a pleasant but strangely uninspiring score.

John Powell has been hired to score many animated films, but his latest project, "Bolt," is his first assignment for Walt Disney Pictures.

Desplat's career continues to shine with this sparkling, romantic period score.

Desplat's musical score to Anne Fontaine's new biopic about Coco Chanel is a quiet masterpiece that shimmers with gentle beauty and elegant drama.

Hans Zimmer, too often associated with blockbuster action movies, has delivered a compelling and intelligent score to Ron Howard's gripping drama.

People often read movie reviews before deciding which show interests them and suits their personal taste.

Marco Beltrami's latest score has a bit of an identity crisis, but remains a superior suspense and disaster score.

After his much-loved scores for "Star Trek" and "Up" in 2009, Michael Giacchino follows up with a zany, hyperactive comedy score to "Land of the Lost."