Angels and Demons (2009)

A fantastic follow up to the nervous and beautiful Da Vinci Code, this music is more action oriented. While the whole score is top notch and Joshua Bells's violin playing is lovely, track 1 "160 BPM" is the highlight and, in my opinion, one of the best things Zimmer has ever written. Unrelenting drive and energy, always a bit off-kilter thanks to the 7/8 rhythm, with an inspired orchestration dominated by strings, bells, organ, percussion, and a powerfully menacing chorus. 



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Iron Man (2008)

The IRON MAN score is founded upon two motifs.  There is the aptly-chosen rock-band motif and then the more traditional orchestral element.  The rock motif is made up of five notes (sometimes extended to seven notes) which Djawadi develops through the length of the score. It functions more as a theme for the development of the Iron-man-concept: forming the base of both Iron Man's theme and later for the Iron Monger. In "Trinkets to Kill a Prince" (4) we can hear the formation of the motif performed comparatively softly on strings. From there we hear progressively aggressive use of the motif through Mark I (5), Fireman (6), until we reach track 12. "Iron Man" (12) builds, without sacrificing it's edginess, to a fitting heroic-crescendo.

The second and orchestral motif is first heard In "Vacation's Over" (7). We hear a grand four-note theme played by full orchestra which later becomes another five-note theme when we hear it in "Driving with the Top Down" (1).  This track would chronologically would follow "Gulmira," (13) and gives us an appropriately "elevated" performance and proves to be one of the more enjoyable tracks of the release. In the climactic "Arc Reaktor" (17) we hear both motifs; themselves locked in a musical battle of their own.

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Batman - Dark Knight (2008)

The Dark Knight score builds on Batman Begins' sound, but ratchets up the propulsive power of the music. While many people criticized the lack of a big theme from the the first movie, Hans Zimmer, James Newton Howard, and Christopher Nolan have made it clear in several interviews that this was intentional. Bruce Wayne is in the process of finding himself and discovering what kind of person/hero that Batman will be. Hence, the music was designed to not have a "Batman theme." But the composers did compose a theme. Fragments of this theme underlie Batman Begins, and in Dark Knight more of this theme is revealed. It gets it's fullest statement on the album in the last track, "Dark Knight", a 16 minute suite. The big theme is very different from the Elfman and Goldenthal themes, but it fits the style that Nolan has created. The theme is straight out of the Late Romantic period, sounding like something from Rachmaninoff or Tchaikovsky. Very beautiful and full of dark emotion. 

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The Da Vinci Code (2006)

Powerful, moody score in the style of Batman Begins (but with more melodic definition), The Thin Red Line and Hannibal. The strings dominate with strong choral support. As I listened to the music, I was most struck by its similarity to a lot of Rachmaninoff's symphonic music - not suprising since he was influenced by liturgical music, and this score is obviously leaning toward that almost-sacred sound. I've not (yet) seen the movie, but the music perfectly captures the mood of the book. Most tracks are dark and brooding, with occasional spikes of action. There are some very powerful choral tracks in here as well. Track 12 is downright creepy and hair-raising, with unsettled strings and solo violin and cello jumping in and out of the texture. 

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Gladiator - More music (2000)

Other than that, there is so much good material here, most notable is "The General Who Became a Slave." This piece was a possible choice for the "To Zucchabar" scene. This track is so beautiful. It begins with the "Strength and Honor" piece from the original soundtrack, then goes into the strings of a Yan Chin and some drums.
"Duduk of the North" is a great piece. It begins like "Earth" does in the original soundtrack then uses a spanish approach at the end.
"Rome is the Light" gives up more variation in Lisa Gerrard's vocals. Very pretty track.
"Figurines" is excellent. A mood setting piece performed by Lisa Gerrard on a Yan Chin.
"The Mob" is absolutely amazing. It begins with a bombastic choir, then moving into Lisa Gerrard's voice. Some great orchastrations in this track. I get the hint of The Lion King soundtrack in this track for some reason.


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Dinosaur (2000)

James Newton Howard employs a full orchestra and choir to create one of the better Disney scores around. Although this isn't The Lion King, Howard does employ the same ethnic tonal qualities you find in that film.

The score begins with slow prodding percussion and a bassoon then breaks forth into strings and strong percussion. Throughout the album, all kinds of film music is heard. From some of the best action music in a Disney film (like in Mulan and The Lion King) to adventurous themes and suspenseful music. Bursts of triumphant choir and orchestra add to the enjoyment, as well as mournful strings, plenty of percussion and other ethnic qualities.

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The Mask of Zorro (1998)

The grounded-heel flamenco rhythm that opens up "The Plaza of Execution" immediately made me think "Oooh this is gonna be good!" And what a score! The fast tempo just drops you right into the middle of the action. The opening bass and the flamenco rhythms of "The Fencing Lesson" is a great formula. The quiet break and snapping guitar put the listener right back in the scene where Don Diego is trying to train the imbecile Alejandro. Then with "Tornado in the Barracks," the light-heartedness on top of action just doesn't stop with stunning guitar work. "Zorro's Theme," besides "The Confession," keep such a romance inside of all this action. A fantastic action score to an outstanding movie.

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