Articles related to "Up Soundtrack Review"

"Slumdog Millionaire" captivated audiences on the big screen for the past few months. Its soundtrack has emerged as a big winner for its unique sound.

Hans Zimmer and John Powell have teamed up for the first time since 2000 ('The Road to El Dorado') and the result is an authentically ethnic and enjoyable score.

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.

Like 'Standard Operating Procedure', 'Wanted' takes Elfman in a very new direction, and it proves both fruitful and entertaining: 'Wanted' is a must-own for Elfman fans.

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.

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

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.

Fusing both the quirky and pastoral sides of his musical career in one album, Thomas Newman comes up with possibly his finest score to date

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

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.

Elfman has been the musical force behind many hit films. However, it is Elfman's score for 'Batman Returns' in collaboration with director Tim Burton that stands out.

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.

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.

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

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

Andrew Lockington's urgent, expansive score is another winning entry in his career, and in film score collections.

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.

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

Barry's glorious, thematically rich score for Kevin Costner's Oscar winning western is the jewel in the crown of an illustrious career

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.

After becoming a notable figure in the industry for his thrilling action scores, Brian Tyler has solidified his role as one of Hollywood's best action composers.

Centered around a brief but catchy score by Alexandre Desplat, the soundtrack album for Wes Anderson's new animated film is a giddy, nostalgic and diverse romp.

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

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

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.

Ridley Scott's triumphant resurrection of the swords and sandals genre benefits from Hans Zimmer's rousing, underrated score

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.

Wiseman composes a rapturous, beautiful symphony for the British horror movie Haunted.

Despite its comparative lack of thematic consistency and accessibility, Hellboy II's score witnesses a return by Elfman to his classic days of Gothic grandeur.

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

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.

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."

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.

Danny Elfman finishes an astonishing year with a tender, superior drama score whose only real detriment is its length.

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

Maestro Joe Hisaishi's latest score for Hayao Miyazaki, "Ponyo on the Cliff by the Sea," reinforces his standing as one of the finest musical artists at work today.

After years of being absent from the mainstream film-scoring scene, master composer Elliot Goldenthal has returned to score Michael Mann's crime epic, Public Enemies.

James Bond, created by Ian Fleming, has a rich history in books, films, and, perhaps most importantly, music. "Quantum of Solace" continues the tradition.