Overview of 2014 Scores Part 2 of 3

Link to Part 1

20. Unbroken (Alexandre Desplat)

For this film adaptation of the incredible account of Louis Zamperini, Alexandre Desplat penned a score that, for the most part, favors restraint over bold heroism (at director Angelina Jolie’s request). Desplat’s adroit musicianship still yields choice moments, including the choral beauty of “We Are Here,” the surging strings of “Coming Home,” the driving latter half of “Dead Comrades,” the melancholy, exotic flute in “The Bird’s Farewell,” and the full orchestra’s grandeur in the final cues “”The War is Over” and “Unbroken.” It’s not as distinctive as the best of Desplat’s work, but there’s still much to admire. What’s even more impressive is that this is my least favorite of the five Desplat scores I heard this year.

19. Big Eyes (Danny Elfman)

The most subdued Elfman score for a Tim Burton film, Big Eyes makes use of piano and orchestra in a style somewhat reminiscent of the score to Big Fish. Pleasant, harmonically pleasing tunes abound, though Elfman inevitably introduces moments of dissonance from time to time (most notably in the prickly cue “Walter”) to spice things up. “Margaret” is almost Thomas Newman-esque with its sequence-based phrases for piano and strings. However, Elfman definitely makes the score his own with use of marimba, from the rapidly cascading figures of “Opening” to the more languid pulsations of “End Credits.” There’s no lilting choir or grand themes; the music resembles Elfman’s score to Gus Van Sant’s Restless, sans guitar. But Elfman, even in subdued mode, squeezes in skillful tunes and emotionally effective figures that impress more than the more splashy pyrotechnics of certain other composers’ scores.

18. The Hunger Games: Mockingjay Part 1 (James Newton Howard)

The score to this film (I’m too lazy to spell the whole thing out again) is my favorite of the Hunger Games scores. Right off the bat, “The Mockingjay” introduces the magnificent, swelling strings of the JNH we all know and love (or should, at least). “Incoming Bombers” starts out with a thrusting electronic pulse before choir and a dizzying string figure enter. “Air Raid Drill” boasts spectacular interplay between strings, brass, and choir, repeated figures intensifying and building to an exquisite statement of anguish; a Signs-esque figure (never a bad thing in Howard’s hands) for flute and then full orchestra closes out the cue. And then there’s “The Hanging Tree;” sure, the melody’s great and all, and Jennifer Lawrence’s performance ain’t bad either. But Howard’s stirring orchestral/choral arrangement and embellishment at the end of the cue elevate it to near-sublimity. JNH’s scores for the Hunger Games films keep getting better and better; with any luck, his score to The Hunger Games Part 3 Part 2 will be a real gem.

17. 22 Jump Street (Mark Mothersbaugh)

Mothersbaugh’s catchy, simple, purposely overblown, and just plain awesome theme for the Jump Street movies would feel right at home in a Jerry Bruckheimer action movie. The composer lays on the electronics a little thick in the action scenes (especially in “Girl Fight/Beach Fight”), but not as overbearingly as he did in The Lego Movie. He breaks the theme down to its (very) basic chords as a pop groove in “Schmidt’s Walk of Shame,” and heroic snippets pepper “Infiltrating the Frat House” alongside a deliberately over-serious string ostinato. The rousing “Olympic Hazing Games” could very well play under a real Olympic event, while “Reunited/Spring Break” hypes the theme up into a form suitable for a dance floor (or rave, maybe, but I can’t speak to that as I’ve never been to one). Finally, the “End Credits” treats us to several settings of the theme, starting tenderly before bursting into dubstep and closing with another dance mix variation. The score isn’t very complex, but the theme is utterly irresistible. Play it at a rave and see what happens!

16. Cosmos (Alan Silvestri)

Silvestri treated soundtrack fans to four albums of his material for this miniseries based on Carl Sagan’s groundbreaking book. Few composers can do “big” as well as Silvestri, and the composer fortunately got the chance to write themes of splendor for the aptly named cues “Revelation of Immensity” and “The Staggering Immensity of Time.” The main title and end credits explore the questing main theme while cues such as “The Cosmos Is Yours” and “Once There Was a World” provide further music of an adventurous nature. But it’s not all just grandiose moments from beginning to end (which could be cool, but exhausting). “The Way We Live Now” and “The Pale Blue Dot” are almost melancholy in their beauty. Electronic pulses propel cues such as “4.5 Billion Years Old” and “The Speed of Light,” the former incorporating choir in the final seconds and the latter almost GI Joe-esque with its rock-influenced beats. Apparently, many don’t like Silvestri’s use of electronics, but I find his writing for synths quite entertaining.  The melodies aren’t as rousing as those from Back to the Future or The Mummy Returns, but I for one find a lot to like in these 2.7 hours of music.

15. Penny Dreadful (Abel Korzeniowski)

Korzeniowski’s star continues to rise, and his score to this lurid miniseries proves that last year’s Romeo and Juliet was no fluke. “Demimonde (Main Title)” kicks off the score with churning strings playing an angular theme. However, most of the score (at least on CD) exudes elegant melancholy outside this main title, though cues such as “Asylum” and “Mother of Monsters” provide plenty of dark, brutal moments. The latter half of the main title introduces a gorgeous theme that’s later unleashed in all its glory in the cue “Closer Than Sisters.” The character of Mina gets her own doleful little motif as well, and cues such as “Transgression,” and “Never Say No” exhibit Korzeniowski’s inimitable brand of romantic tragedy. “Transgression” and “Mother of Evil” see the composer delving into sinister writing for dark choir, a style we haven’t really heard from him before. Though Penny Dreadful certainly allows Korzeniowski to branch out beyond the romantic genre at which he excels, he still infuses each and every cue with his own nonpareil style.

14. Dawn of the Planet of the Apes (Michael Giacchino)

While Giacchino’s score contains plenty of complex writing, the themes themselves are actually rather simple (though effective). “Level Plaguing Field” introduces the tragic theme for the human race, blossoming from piano to chorus. “Look Who’s Stalking” kicks off the complex side of the score, incorporating odd, Goldsmith-esque percussion and aleatoric voices before the frantic action takes over. “The Great Ape Processional” presents Caesar’s theme, a slow-moving, steadily rising melody that works equally well in delicate and triumphant modes. Finally, “Close Encounters of the Third Kind” brings in the most pervasive element of the score: a circular, menacing motif for the warlike side of the apes. In “Enough Monkeying Around,” this ape/war motif receives a massive rendition, while “Primates for Life” sees the Caesar theme reach its glorious apex. “Planet of the End Credits” presents a final, satisfying suite of all the thematic material. The score drags a bit when there’s no action and none of the themes are playing, but Giacchino crafts the elements together with consummate skill, aided by his firm sense of musical drama.

13. The Imitation Game (Alexandre Desplat)

To portray the genius, conflict, and inner emotion of Alan Turing (played by Benedict Cumberbatch), Desplat lays a gorgeous melody for strings over billowing pianos. A more lighthearted, almost playful bridge for flutes (heard in the title track) is quite lovely, though it doesn’t recur too often in the rest of the score. An ethereal ostinato played on a bell-like instrument (or synthesizer) lends an otherworldly quality to cues such as  “Alan” and “Alone with Numbers.” I like the latter half of “Joan,” a subtly churning piece that evokes a sense of quiet yet determined progress. “The Machine Christopher” creates a sound of busy, frenzied activity befitting its track title, while “Farewell to Christopher” strips the piano and strings down to their bare essences. “End of War” features a mournful, seesawing motif that keeps moving relentlessly forward, as if heralding the end of an era (and that just about fills up our “Pretentious Writing” quota for the day). Impressively, Desplat infuses the score with enough variety and development to keep it interesting the whole way through while never losing sight of the human story his music so intelligently supports.

12. Anonymous Rejected Filmscore (John Murphy)

Murphy took musical ideas from a rejected score and fashioned them into a standalone album. It’s very Murphy—that is, the music features lots of thrashing electric guitars, electronics, distorted instruments, and raw emotion built from compositionally straightforward building blocks. The opening track alone,“3:59 AM,” brings all these musical elements together, plus a child’s whisperings. But it’s not all just thrashing; “8mm Dream” has piano, strings, and some distorted instrument playing a lovely melody, while “Dead Ballerina” has hardly an electronic instrument in sight (or within hearing range). “1-2-3-4” contains monumental guitar builds that reminds me of his superb work on the 28 Days/28 Weeks Later films and his contributions to Kick-Ass. “How to Leave Your Body” touches the celestial heights of emotional glory that the composer previously reached in his score to Sunshine (and specifically the “Adagio in D Minor,” used splendidly in one of the most poignant scenes in Kick-Ass). To listen to this music is to hear Murphy unleashed, taking his established style and pushing it to heights unfettered.

11. Planes: Fire and Rescue (Mark Mancina)

I thought that Mancina’s theme for Planes was one of the best film themes of 2014, and he gets to play with it even more in this slightly superior sequel score. The main title track adds a driving string ostinato and bolder percussion, though the theme itself is played in a slightly more staccato manner. The action music is lengthier, better developed, and more exciting than in the previous installment; any cue with “Fire” in its name will suffice as an example of the invigorating music Mancina can cook up.  Heroic brass writing, swirling string runs, woodwind motifs, and judicious use of percussion permeate the action music throughout. “Training Dusty” has a wonderful feel, evoking the majesty of nature and introducing a power anthem that reaches its zenith in the climactic cues “Fire Heroes” and “Rescue Harvey & Winnie,” the latter adding choir to the mix. One of my favorite action moments occurs about a minute into “Lightning Storm Fire,” when a massive, sensational fanfare erupts out of the orchestra. The one downside of this score is its temp-track influences; there’s a bit of Elfman’s Batman in “Fire!” and more than a bit of Chicken Run in a theme introduced in “An All New Mayday” (the melody is different, but the tuba and snare drum backing is almost identical.) Nevertheless, this thrilling score proves that Mancina is still one of the best composers to emerge from Hans Zimmer’s studio.

Overview of 2013 Scores Part 3 of 3

For reference, I don’t think there’s actually that much difference in quality among scores #10-#2. They’re all within a hair of being superb.

10. Saving Mr. Banks (Thomas Newman)

The score for Saving Mr. Banks is Thomas Newman squarely in his comfort zone, but what a comfort zone it is. He combines his always-unique and distinctive instrumentation with lush orchestral themes, recalling some of his best scores: Shawshank Redemption, Meet Joe Black, Lemony Snickett’s A Series of Unfortunate Events, and Angels in America. While not quite as superlative as these stellar works, this score is still ripe with signature Newman moments. “Travers Goff” opens the score with an expansive string melody, but Newman’s characteristically driving piano soon enters. This melody is reprised in “Beverly Hills Hotel” and expanded upon in “Ginty My Love.” “Walking Bus” contains colorful instrumentation, recalling A Series of Unfortunate Events in particular, while “Jollification” takes this quirkiness further, becoming American Beauty-esque. “Leisurely Stroll” brings wonderful string swells to the forefront, reminiscent of Finding Nemo. Repeated piano notes propel “Whiskey” and Newman twists his style into a quasi-jazz cue for “Mrs. P.L. Travers.”  “Mr. Disney” is Newman’s idiosyncratic take on a fanfare, with a more majestic take in “The Magic Kingdom.” Finally, “Saving Mr. Banks (End Title)” closes the score with an eloquent orchestral melody. The score is not quite the perfection Newman has achieved with other scores, but it’s close.

9. Oz: The Great and Powerful (Danny Elfman)

Sure, the main theme bears an uncanny resemblance to “O Canada!” and the witches’ theme is straight out of Elfman’s tried-and-true toolbox. But the composer still manages to concoct a delicious fantasy score with indelible moments, from the majestic “Main Titles” and the dynamic “Preparation Montage” (Elfman is ever the master of the montage) to the wondrous “Bubble Voyage” and the heartbreakingly tender “China Town.” The playful composer even contributes a wacky “Munchkin Welcome Song,” recalling a similarly titled opus from Charlie and the Chocolate Factory. Unfortunately, much of the final battle music is not on the CD. But the frenetic, almost impossibly frenzied final 45 seconds of the penultimate track, “Time for Gifts,” is pure film music pleasure of the highest order, almost like a condensed version of the “Main Titles” from Charlie and the Chocolate Factory (sans electronics). I for one am glad that Elfman and director Sam Raimi made up (though Christopher Young would probably have done a good job as well). Coming up for Elfman (pun very much intended) is Fifty Shades of Grey, which should be…interesting.

8. Iron Man 3 (Brian Tyler)

I wrote a bit about the score to Iron Man 3 here; more than half a year after that post, I can now say that Tyler wrote probably my favorite theme of the year for this film. It’s an unabashedly muscular, heroic, robust anthem, the kind that Man of Steel should have had (in terms of memorability, effectiveness, and grandeur, not necessarily in terms of musical style). Plus, it’s pliable enough to play morosely in “Isolation” and funky in the rocking throwback end title track “Can You Dig It?” Much of the score before the lengthy finale is actually rather subdued and doesn’t use the main theme much. That’s primarily why this score isn’t placed higher. But once the climax kicks in (comprising the tracks “Dive Bombers,” “Battle Finale,” “Stark,” “Heat and Iron,” and “Hot Pepper”), the score finally comes into its own as a massive action opus. One of my favorite moments is the build-up from 1:20-1:27 in “Stark.” Like the entire score, it’s simple, yet stunningly compelling.

7. The Book Thief (John Williams)

The Book Thief was a surprise assignment for the world’s reigning maestro, but certainly a welcome one. Far from Star Wars and Indiana Jones in nearly every aspect but quality, the score still retains Williams’s peerless compositional voice. While he doesn’t embark on any new avenues, his painstakingly precise writing is as sublime as ever. Choice moments are legion: The tender introduction of the main theme in “One Small Fact” preceding a surging restatement of the same, the rich string writing in “The Train Station,” the emotionally overwhelming simplicity of the oboe tune in “Max and Liesel,” and the effortlessly flowing recapitulation of the theme in “Learning to Read.” By the time the “Finale” and the suite “The Book Thief” roll around, Williams has more than proven his mastery—as if he needed to at this point. Even more than Lincoln, however, this score requires attention and patience to appreciate the subtleties of its craft. Less engaging passages do exist, and there isn’t quite the sense of freshness of War Horse or The Adventures of Tintin, and these reasons are why this score isn’t higher up on my list. But John Williams is still the man.

6. The Hobbit: The Desolation of Smaug (Howard Shore)

Howard Shore’s middle score to the most drawn-out trilogy in history improves upon its predecessor, but still lags behind the scores for The Lord of the Rings. The main problem is the shortness, obscurity, and relative un-memorability of Shore’s new themes. They certainly aren’t lacking in quantity: we have several Bilbo themes, a Gandalf the Grey theme, a handful of Erebor/Thorin themes, themes for Mirkwood, the Wood Elves, Tauriel, Bard, Laketown, Smaug, and more. The jaunty tune for Laketown is neat, and I like the mesmerizing instrumentation and percussion of Smaug’s primary theme (apparently he has more than one theme), even if I can’t recall the actual melody. My two favorite themes are the ones having to do with Tauriel, the female version of Link for those uninitiated with Peter Jackson’s version of Middle-Earth. Her fluttering theme works great as an action fanfare in “The Forest River,” a track that proves that Shore has improved his action writing since The Lord of the Rings. The theme for her relationship with Kili (Aragorn Jr.) is simple yet enchanting. Time will tell if There and Back Again will allow Shore to return to the heights of the Original Trilogy. (Mr. Williams welcomes you to the club, Mr. Shore.)

5. Thor: The Dark World (Brian Tyler)

Brian Tyler’s main theme for the second Thor film isn’t as original or good, frankly, as Patrick Doyle’s themes for the original or Tyler’s own theme for Iron Man 3. But somehow, Tyler uses this basic theme to craft the most entertaining, solid start-to-finish score for a Marvel Studios film. The main theme is an almost overblown, epic fantasy tune complete with furiously chanting choir and simple harmonies. Yet Tyler includes orchestral flourishes and clever motifs to keep the tune from becoming yet another Remote Control remnant. The theme actually has three distinct parts; the second part is often used as a love theme and the third (girded by a gliding electronic tone) is used for traveling to Asgard and especially heroic moments. “Into Eternity” includes a heartfelt, tragic rendition of the first part of the theme, and “Asgard” features yet another theme that isn’t really used in the film itself (it plays in the credits right after the first bonus scene). Loki’s sinuous, serpentine theme underscores his obviously deceitful nature, but also plays in a heroic action setting in “Convergence.” And Tyler’s incorporation of Alan Silvestri’s Captain America theme in “An Unlikely Alliance” makes for one of the most delightful film music moments of the year. The entire score almost never lets up, enthralling fantasy-action moments filling it up to the brim. Now, if only Marvel could get Brian Tyler to score Guardians of the Galaxy instead of that other Tyler….

4. Planes (Mark Mancina)

Mark Mancina hadn’t scored a major film since “Imagine That” in 2009, and Planes marked a very welcome return. The film allows Mancina to write plenty of action, an area where he has always excelled. Cues such as “Start Your Engines,” “Running on Fumes,” “Get Above the Storm,” and “Skipper to the Rescue” certainly reveal Mancina’s musical history as one of the earliest of Hans Zimmer’s protégés. But his command of the orchestra is stronger than many of those from the Zimmer school, and the music is slightly reminiscent of Mancina’s rollicking action cues for Tarzan. “Dusty & Ishani” uses Indian instrumentation that is almost certainly not authentic, but is nevertheless extremely attractive and well written. The theme for Skipper is a noble anthem that Mancina transforms into an outright chorale in the moving “Skipper’s Theme (Volo Pro Veritas).” However, it is the stirring main theme that serves as the score’s highlight; Mancina can add another notch to his belt for great themes. The noble, soaring trumpet melody has five phrases; the third and fourth are my favorite, as they seem to convey a sense of yearning as-yet unrequited. The drums and guitar add an appropriate sense of energy without going over the top. Best heard in “Dusty Soars,” “First Place,” and “Planes,” this is my second favorite theme of the year (behind Iron Man 3).

3. Escape from Tomorrow (Abel Korzeniowski)

There are two weaknesses to this score: first, it’s too short at 20 minutes. Second, two of the tracks consist of meandering electronic textures. But Korzeniowski composed 15 minutes of singular elegance for this offbeat film about a family’s breakdown at the Disney parks. And indeed, the music would be perfect as background music for the parks themselves. The end of “Fantasy Girl” has a stately, brassy optimism characteristic of the music played at Epcot. “Gates of Tomorrow” and the two “Magic Kingdom” tracks feature gorgeous themes while “The Grand Finale” closes the score with resplendent, soaring flourishes. “Fireworks” is the kind of crazy track I like. (Yes, there is crazy music I don’t like; see “Martian Mambo” from John Powell’s Mars Needs Moms.) It opens with a complicated string line before expanding into a portentous action track, complete with chimes.  Then, an unsettling children’s choir enters, keening an eerie five-note ostinato. Speaking of children’s choir, they return for a final song, “Imaginate!” lampooning “It’s A Small World” with subtly twisted lyrics and malignantly jaunty woodblock accompaniment. The composer, choir director, or conductor even manages to make the kids sing in a slightly demented tone. One only wishes that Korzeniowski had been allowed to develop his musical ideas further.

2. Kick-Ass 2 (Henry Jackman and Matthew Margeson)

When I saw this movie in the theaters and the Kick-Ass theme started playing under the studio logos, I grinned inside (I admit to being on the phlegmatic side outwardly). Henry Jackman’s reaching, heroic melody for the wannabe superhero has become one of my favorite themes, and the best parts of this sequel score use this theme. Margeson appears to have actually written most of this score, and I honestly think his new themes for Hit-Girl and the Motherf*cker (the former Red Mist) are just okay. At least he keeps them both in same musical ballpark as the themes from the first film; the first two notes of Hit-Girl’s theme are the same as the first two of Big Daddy’s, and the Motherf*cker’s theme is backed by an electric guitar line that is also a more simplified version of Big Daddy’s theme. “Mindy’s First Date” display’s Hit-Girl’s theme in its emotional guise, while “Dave’s Field Test” uses it heroically. “Cemetery Attack/Hit-Girl is Back” and “Warehouse Showdown” are the best action tracks, often using a persistent electronic beat under the Kick-Ass and Motherf*cker themes. “Hit-Girl’s Farewell” recalls the sublime blend of grandeur, triumph, and coolness of “Flying Home” from the first film, but the orchestral arrangement sounds thinner. “Justice Forever” is a highlight (it’s the track that plays under the Blu-ray/DVD menu), electric guitar and electronics building to a brassy fanfare of the Kick-Ass theme, moving on to a full orchestral statement of the theme that precedes an eruption of drums and a stirring string line. “Main Titles,” which plays under the logos, starts out with a soft orchestral statement of the theme as a bass pulse grows and grows, becoming massive as more bubbling electronics enter and the theme transitions to synthesizer. It’s pure musical heaven. Another one of my favorite tracks is the sadly unused “Last Resort,” in which a gargantuan statement of the Kick-Ass theme starts on electric guitar before exploding into orchestra and choir as the theme ascends to its zenith. As a whole, this score is more cohesive than the original, but with fewer highlights. However, it’s still the most flat-out fun, consistently entertaining score I heard this year.

1. Romeo and Juliet* (Abel Korzeniowski)

Korzeniowski was a last-minute replacement for the famed James Horner on this score. But unlike the score for Ender’s Game (where Horner was replaced by Steve Jablonsky), the score for Romeo and Juliet likely exceeds what Horner would have done based on his recent track record. Korzeniowski’s simple themes are bolstered by exquisite orchestrations and opulent bursts of heavenly beauty. Although it is a close companion to the composer’s score for W.E. with its lush strings, piano, and semi-minimalistic writing, a sense of inevitable tragedy permeates the score and provides it with its own character. “Forbidden Love” starts with a tender build-up laden with anticipation before the celestial main theme pours out from the strings. The end of “First Kiss” is rapturous in its emotional intensity, while “A Thousand Times Good Night” explores the wondrous main theme further with piano lines that are both pounding and euphoric. Similarly masterful piano writing imbues “Juliet’s Dream” with romantic aching. “Fortune’s Fool” and “From Ancient Grudge” hint at the kind of furious action Korzeniowski excels at (and has sadly only really been able to explore in his score for Battle for Terra) while keeping within the score’s partially minimalistic idiom. The two “Crypt” cues are more subdued until the end, leading into the divine final cue, “Eternal Love.” Here, a solo female voice sings an elegy for the doomed lovers before leading into a final beatific statement of the main theme. Korzeniowski’s sumptuous score is a splendid achievement and my favorite score of the year; it just hits the spot for me.  In fact, while listening to it again for review purposes, I really fell in love with it even more and upgraded it to asterisk status (just below the absolute highest rating of two asterisks). While Korzeniowski excels at these romantic scores, I hope he will be allowed to explore more styles and genres.

Power Anthems: Part 2

X-Men: First Class-Henry Jackman
For the most part, Henry Jackman's scores (like John Powell's) have been more complex and orchestrally adventurous than those from his fellow MV/RC graduates. But for Matthew Vaughn's impressive follow-up to Kick-Ass, Jackman composed a simple, robust anthem for Xavier's mutants and their emerging heroism. While best heard in its full form in the track "First Class," (actually the last part of the end credits) Jackman also incorporates more adventurous, higher-tempo variations in the cues for the lengthy final battle. The ten-note melody is interesting in that it sounds like it's going to resolve in note eight, but instead rises up for the conclusive descending figure.

Speed/Speed 2: Cruise Control-Mark Mancina
The noble, surprisingly evocative main theme for Speed is a catchy tune that is played with more of an orchestral sound than the typical power anthem, and even gets a tender piano and string rendition in the end credits of the first film. There is also more standard, minor-mode anthem that often follows the main theme as well as a staccato six-note action motif. The score for the second film introduces even more themes. In addition to the Caribbean-style love theme and chromatic villain theme, there are no less than three distinct anthems. Having not seen the film, I have no idea what each relates to, but one is a faster-paced one introduced in the opening "Motorcycle Chase", one is a more triumphant fanfare heard in "Last Lifeboat," and the last is the most power anthem-y of them, heard in "Final Chase" and the commercially-unreleased cue "Tuneman." Mancina's score for Speed would have a large influence on the action music of the rising Media Ventures "club."

Twister-Mark Mancina
Although Twister contains a lively Copland-esque theme (introduced in "Wheatfield") and a wondrous theme representing the awesome power of tornadoes (best heard in "God's Finger"), it also contains one of my personal favorite power anthems. The climatic cue "Mobile Home" includes a pounding ostinato that leads into the impressive anthem, which is modulated upward for its second statement before returning to the ostinato and climaxing with a dramatic rendition of the Copland-esque theme. This cue segues right into the splendor of "God's Finger," and they are a pair of cues that I play often.

BLOOD+-Mark Mancina
For this ambitious anime series, Mancina composed several themes, two of them fitting in the "power anthem" category.  "Saya's Victory" introduces a triumphant theme that reminds me a little of his superb work on Tarzan, while "BLOOD+ Grand Theme" is a dramatic march (with the inevitable Mars/Holst-inspired section.) The whole score is full of riches, from tender passages and raging action to a fantastic aria.

Antz-Harry Gregson-Willams and John Powell
This isn't the first score to spring to mind when one thinks "power anthem," and indeed, this gem of a score is in a category of its own. But the theme for General Mandible does fit into this category. While it is introduced on exotic instruments, male choir soon enters and exposes the theme for what it really is. A high-energy variation of the theme is played during the termite battle. The fact that this is actually one of the more minor themes in this theme-heavy score illustrates the strength of the composition as a whole.

Metal Gear Solid 2: Sons of Liberty/Metal Gear Solid 3: Snake Eater/Metal Gear Solid 4: Guns of the Patriots-Harry Gregson-Williams
For the second installment of this complex video game series, Gregson-Willams "power anthem-ized" the theme from the first game composed by TAPPY. For the third game, HGW introduced his own epic theme to accompany the original theme. A plagiarism suit involving TAPPY's theme kept it from being included in the fourth game, but HGW was able to update his own theme, giving it a faster pace and a part of it beautifully performed by solo trumpet in the cue "Metal Gear Saga." Oddly enough, HGW does not use his theme much in the actual underscore to the games (at least not in the cues he composed), which is a shame because it's a rousing theme.

Team America:World Police-Harry Gregson-Williams
This just might be the best power anthem score there is, maybe because it's parodying the style and HGW thus does not need to restrain himself in any way. The "Team America March" opens with an ultra-macho theme complete with male choir accompaniment, and then moves on to the most used theme of the score, a triumphant melody more reminiscent of the composer's work with John Powell on Chicken Run than any power anthem. The track closes with a true power anthem that starts quietly before blossoming into full chorus, orchestra, and synth-orchestra. "F.A.G." contains a brief rocking anthem while "Putting a Jihad on You" contains a classic, four-chord masculine melody that brings to mind a Michael Bay film with a line of macho US Military soldiers walking toward the screen in slow motion. Truly an enjoyable score.

Next: The conclusion with Hans Zimmer.

Mark Mancina

Before Harry Gregson-Williams and John Powell composed their way out of Hans Zimmer's shadow, there was Mark Mancina. In the mid to late '90s, Mancina's style was as popular and influential as Zimmer's, but his music still retains its appeal today due to his strong sense of melody and his fondness for real orchestral sounds among all the synthetic beats. Although Mancina helped Zimmer on Millennium and True Romance, he played a vital role in producing the songs and arranging the music for The Lion King. Mancina went on to become the music supervisor for the stage show directed by Julie Taymor. Mancina soon established a powerful, exciting, tune-driven style for action, propelling films such as Speed, Bad Boys, Assassins, Money Train, and Twister. All of them have themes written in the Zimmer style, but tend to be more developed with more of an emphasis on the orchestra than on synthesizers. Mancina works often with director Antoine Fuqua, scoring Bait, Training Day, and Shooter. But Mancina isn't just a one-note composer, as he has written full, romantic scores for Moll Flanders, Return to Paradise, and August Rush (including a magnificent rhapsody "composed" by the film's main character). He has also established a relationship with Disney, composing Brother Bear, The Haunted Mansion, the percussive and wondrous Tarzan, the high-energy, anthemic Planes films, and the Walt Disney Pictures logo that debuted with Pirates of the Caribbean: Dean Man's Chest (incorporating Leigh Harline's tune "When You Wish Upon A Star"). A definite highlight is Mancina's score for the anime series Blood+, which features Mancina's trademark thunderous action, tender lyricism, grandeur, and an awe-inspiring aria.

Bad Boys

BLOOD+**

Brother Bear

The Haunted Mansion
Moana

Moll Flanders

Money Train
Planes
Planes: Fire & Rescue
Sorcery

Speed

Speed 2: Cruise Control

Tarzan*

Twister*