Below are more soundtrack reviews of recent and archival releases.

Alien: Covenant (Jed Kurzel, 2017) * The Alien legacy filtered through composers such as Jerry Goldsmith, James Horner, Elliot Goldenthal and John Frizzell varies in quality and scope. Largely despised by Goldsmith who had other things in mind, Alien stood out from the pack. In particular "The Terrain" and "Nothing to Say" have always been favourites of mine. Meanwhile, a complicated album situation on Horner's Aliens has meant that collectors should seek out the isolated score track on the Blu-ray for the definitive experience. The existing CDs just don't cut it. Finally, Alien 3 and Alien: Resurrection yielded passable, occasionally spectacular music and sound design from their respective creators. Regarding Alien: Covenant, Jed Kurzel looks to paint some darkness of his own. Early nods to Goldsmith's 1979 effort especially in the trumpets seems fitting only Kurzel fails to add personality or depth. Next up, "Incubation" offers some hope then makes it vanish all too quickly. Frankly, Alien: Covenant lacks even a tiny tithe of breathless originality. What of "Spores" the first genuine horror track? You could be forgiven for wanting to leave the experience at that point. It's quite underwhelming.

Glory (James Horner, 1989) **** Angels singing for the fallen. Indeed, James Horner's Glory has a reputation which precedes it. For many, it's a religious experience and owning the score in its complete form might be sacred. It's a beautiful score no question. The simplicity in Horner's compositions make it resound with significant staying power. Above all, it's important to note key musical gestures which would recur in later soundtracks by the composer. One primary theme would play a huge part in The Pagemaster. Then there's 0:49 in "Burning the Town of Darien." This would be copied and pasted into the finale of Wolfgang Petersen's Troy. At times, Horner's willingness to reference his own material so broadly could be simultaneously distracting and inspired. At the very least, it binds many of his scores with a consistent artistic stamp. Terry Plumeri was a master at this. Meanwhile, Horner's gift for soulful restraint can be heard throughout Glory. The score compels us to listen closely because you can feel the bigger forces lying in wait. Once we reach "Closing Credits (Film Mix)," an orchestral explosion hits the listener like a tidal wave. This stirring cue would make the trailer for Backdraft even more effective. 

The Lego Ninjago Movie (Mark Mothersbaugh, 2017) **** Energetic yet thoughtful, Mark Mothersbaugh's The Lego Ninjago Movie prioritizes emotional involvement and ethnic authenticity. Lavish orchestral features confront the listener with action packed and visceral displays of harmonic excellence. On the personal side, dignified flute performances prove touching even contemplative. Only "The Ultimate Ultimate Weapon" spun an overwrought web losing crucial nuance, charm and subtlety. Otherwise, it's a sweet soundtrack folks!

Space Truckers (Colin Towns, 1996) *** Fondly, Colin Towns' Space Truckers comes across as Neapolitan ice cream: different flavours in a single package. Whether it's the Americana spirit of Aaron Copland and Jerome Moross; ethereal ambience behind "Do You Mind?" or the seductive saxophone during "Martian Moons," Towns captures a whimsical vibe. Even the more sinister sections allow his bright themes to carry the score splendidly. However, the weak links begin to show in "Foxtrot 946" and "Heading for the Scumcluster, Pt. 2." The quality falls drastically as more synthetic elements gain focus, and the charm wears off. Ultimately, Space Truckers becomes a score of two halves. While the initial ideas prove rousing and mysterious, the later portions felt like unfinished keyboard demos. Then again, the score returns to its better self with "Froze Me, Freed Me, Here I Am!". Leaving out the dredge, the music chugs past the finish line to the tune of three stars. Worth it for the highlights.

The Spy Who Loved Me (Marvin Hamlisch, 1977) * Firstly, "Bond 77" has to be the most cheesy and nonsensical cue made during the second decade of Agent 007. Obnoxious techno and disco elements -- which were in fashion at the time of the film's 1977 premiere -- have dated awfully. Above all, there's scant charge or energy behind Marvin Hamlisch's composition. Despite excellent work on The Swimmer, he cannot make James Bond even doggy paddle in his own pool. Moving on, "Ride to Atlantis" fares a little better. The atmosphere seems to drift between hypnotic and irritating. Meanwhile, "Mojave Club" felt mediocre like a track ripped from an obscure oriental release. Staggered, screechy and unexciting, "The Tanker" plummets even further. Getting close to the end, "The Pyramids" evoke a Transylvania ambience out of step with the relevant franchise. Ditto "Conclusion."

The Thief of Baghdad/Il Ladro di Bagdad (Carlo Rustichelli, 1960) *** Good old Rusty fancied himself an adventurer or at the very least a chronicler in music. With The Thief of Baghdad, it's well defined territory. Miklos Rozsa's 1940 effort leads the field in terms of emotion, technique and innovation. While Rustichelli's attempt rarely comes close, the music felt pleasant and melodious. Evidently, being original or revolutionary was not the intended goal. Faced with an adventurous canvas, he plucks meaningful leaves from the branch of well worn tropes. There's some ethnic spice in the form of dance music. Meanwhile, the themes prove romantic and charming. It's a nice escape overall.

Thinner (Daniel Licht, 1996) **** Among the musical highlights for Stephen King adaptations, I have several favourites. These include Pino Donaggio's Carrie, Charles Bernstein's Cujo, Nicholas Pike's The Shining and Benjamin Wallfisch's IT (both parts). Suspecting that composer Daniel Licht might opt for the drum loop and drone for Thinner, I was pleasantly surprised by his approach. Direct comparisons to Danny Elfman and Christopher Young are inevitable, yet Licht engineers an intriguing orchestral soundscape. He's got some terrific ideas here. For example, "Lizard" comes across as sensitive and haunted, the strings reaching very deeply while channelling an enigmatic premise. A slight Egyptian flavour combines with the suspense which proves intoxicating. The horror stinger enhances the feeling of dread and urgency. Overall, Licht's symbiosis between mystery, suspense and terror proves artful indeed. Neither overwrought nor cliched, Thinner tracks its own destiny. Fundamental to its success are the clear melodic undercurrents benefitting the emotional payoff and intellectual surprise.

(The Embalmer) Il mostro di Venezia (Marcello Gigante, 1965) **** Time to rhyme:

There are trifles and better dishes

Fulfilling hopes, dreams and wishes.

A fleck of flint

Gave the promising hint.

For this type of thriller

I was not expecting Glenn Miller.

Under what muse

Did creativity have so much to lose?

A gentle and rare bud

Woodwinds dispel the flood.

The sinister album cover art

Musical feelings do not impart.

A surprise I beheld

All the giants were felled.

With refined sweetness,

The Embalmer hosts traditional completeness.

Jules et Jim (Georges Delerue, 1962) **** Youth and quaint mischief enliven Jules et Jim. Composer Georges Delerue allows us to feel innocent and free. Worldwise yet impulsive, Delerue's compositions champion charming melodies, soulful woodwinds as well as confident vocals. The harpsichord in "Retrouvailles a l'auberge de le Becasse" comes across as yearning and haunted. 

A poem:

A whisper in the ear

Even the thoughtful tear.

Jules et Jim felt cool

Craftsmanship the number one rule.

Georges Delerue made a love letter

So we could feel better.

A heart flowing with pride

Music to unite rather than divide.

A simple dramatic touch

Can alter the mood very much.

Jules et Jim truly bounce

A delightful score on all accounts.

SCORE OF THE MOMENT

The Naked Jungle (Daniele Amfitheatrof, 1954) ***** Experimental percussive and atmospheric jungle scores plant me into the mindset occupied by Joseph Conrad's Heart of Darkness. Also being sentimental at heart, the romantic underscoring behind The Naked Jungle melted me instantly. Composer Daniele Amfitheatrof triumphs via powerful and confident orchestrations, relatively flawless performances from the musicians and stunning use of counterpoint. This makes The Naked Jungle all the more enticing to recommend. However, the solitary criticism should be directed inwards: why it took me so long to discover this gem.

PHOTO:  Daniele Amfitheatrof