Below are more soundtrack reviews of recent and archival releases.

The 7th Voyage of Sinbad (Bernard Herrmann, 1958) ****

I'd like to emphasis my fondness (even preference) for Golden/Silver Age re-recordings. Key examples include Erich Wolfgang Korngold's The Sea Hawk and especially Bernard Herrmann's The 7th Voyage of Sinbad. The latter erupts with a heart pounding fanfare, just the sort of “Overture” that captures the imagination. Crucially, Herrmann varies the tempo, thematic density and volume in order to achieve a grand listening experience. Conducted by John Debney, the re-recording finds the Royal Scottish National Orchestra on top form. Every player deserves a medal for realizing Herrmann's intricate sensibilities.

Arthur Christmas (Harry Gregson-Williams, 2011) **

At first, I really enjoyed the soundtrack to Arthur Christmas. Then the durability test came. Guess what? It failed miserably. Composer Harry Gregson-Williams reveals a weakness common to his Unstoppable score: the inability to surprise. Despite the orchestral presence, he gets a little too carried away with electronica. It simply jars to the point of distraction. That's why I love horror and fantasy music so much. No two experiences are exactly the same.

Black Sunday (John Williams, 1977) *

Composer John Williams wrote some marvellous music in 1977. Unfortunately, you won't hear a note of it from Black Sunday. This broken atmosphere rarely comes close to the textbook sound that would make him a household name. Contrast or variation seems to be a luxury he cannot afford. Even during “Speed Boat Chase,” the tone remains bleak. Technically, it's a well-constructed track. Sadly, all the bells and whistles mean little if there's apathy involved. Some intrigue appears to mount while “Nurse Dahlia/Kabakov's Card/ The Hypodermic” ticks away. Ambling along, “It Was Good/Dahlia Arrives/The Unloading” carries more of the same ominous streak. Eerie, dark and unrelenting, Black Sunday might please fans of 1970s cinema. On the other hand, I prefer the magically intense Indiana Jones trilogy and surprisingly durable War of the Worlds.

The Car (Leonard Rosenman, 1977) ****

A B-movie gem, The Car contains a fantastic score from composer Leonard Rosenman. Beating The Shining to the punch via a classic nod to the Dies Irae chant, supernatural forces take shape. A black Lincoln Mark II storms into a small American town and kills several people. An eyewitness claims there was no driver. But how can that be unless the devil is behind the wheel? Crucially, Rosenman follows the villain's exploits with a signature two-note theme, later reprised for The Lord of the Rings and RoboCop 2. The music works so well in the film, it makes for an exciting prospect on CD. In 2015, Record label Intrada released Rosenman's score, and I bought a copy immediately. Highly recommended!

Everest (Dario Marianelli, 2015)

Dario Marianelli's Everest could have been a score for the ages. Instead, it ties with Michael Giacchino's Jurassic World for worst of 2015. Interestingly, Marianelli makes a good start during “The Call” and “The Lowdown.” Although they're not exactly hummable, it's a decent springboard. Sadly, such subtlety feels safe in comparison to Hans Zimmer's K2, Trevor Jones' Cliffhanger and Lee Holdridge's Into Thin Air: Death on Everest. These soundtracks conjure dynamism on a scale which Marianelli simply avoids. For example, generic synthesizers plague “Chopper Rescue.” Quite frankly, I wanted something closer to Jerry Goldsmith's Outland where the main theme reflected an unforgiving environment. As such, Everest fails to grip.

The French Connection (Don Ellis, 1971) ***

It's easy to disregard Don Ellis' The French Connection as obnoxious. However, this does a huge disservice to Ellis' creative instincts. By applying a jazz-driven style -- behind the notes, finding secret grooves etc. -- he makes a bold impression. The chaotic “Main Title” plays out the uneasy mood at narrative center. Likewise, angry contrapuntal writing inside “Subway” maintains an edgy premise. Clearly, there's more thought behind this than meets the ear. Because director William Friedkin wanted something that could underscore Popeye Doyle's obsession, the end result does require persistence. As film music, The French Connection passes the durability test via an unconventional beat… that gets under the skin.

Last Man Standing (Elmer Bernstein, 1996) ****

What a relatively upbeat and soulful accompaniment composer Elmer Bernstein wrote for Last Man Standing. Ultimately, his work went unused and Ry Cooder got the final say. The latter previously collaborated with director Walter Hill on pictures such as Southern Comfort, Crossroads and Trespass. Regarding Bernstein's score, “To Jericho” sets the scene with a slight Native American feel. Matters proceed on a mystical plane during the suspenseful “First Guns.” At 0:45, there's some rhythmic action writing reminiscent of “Prologue and Pursuit” from Bernstein's Slipstream. I like the subtlety here, and it can also be felt during the latter part of “Free.”

Meanwhile, “Hijacking” features a prominent brass section. This carries a definite Dies Irae atmosphere. Ominous, deliberate and ever so urgent, it's a score triumph. Additionally, there are some lovely woodwinds near the two minute mark. So far, the mood reflects John Smith's (Bruce Willis) journey into shark-infested waters. Adding to which, intrigue lays a strong foundation during “Felina's Story.” Apparently, Bernstein's gift for thematic complexity surpasses Cooder's moody gestures. 

According to Gergely Hubai's Torn Music: Rejected Film Scores, A Selected History, New Line was enthusiastic regarding Bernstein's contribution. Apparently, Hill didn't share this sentiment. The story behind this unused effort carries the same excuses that befell Gabriel Yared's Troy (See Score Season #1). Phrases like “too traditional” and “old fashioned” prevented a very good score from being heard in context. Although I can appreciate Cooder's opening theme, the rest barely passes muster. Had Bernstein won the day, would his soundtrack fit such an action-packed spectacle? I believe so.

Mad Max Beyond Thunderdome (Maurice Jarre, 1985) **

Maurice Jarre's Mad Max Beyond Thunderdome gives the impression of being made on the fly. This improvisational quality isn't restricted to “Tragic Saxophone.” There's a bouncy quality to these pieces which resonates fairly well. For instance, “Heartbeat/Pigrock” establishes an intoxicating rhythm before an explosion on saxophone at 2:23. Admittedly, this transition might prove unnerving for first time listeners. However, it's a minor quibble. Meanwhile, the suspense bubbles throughout “Master Blaster/ The Manipulator/Embargo/Entity Humiliated.” The latter percolates like a Judgement Day hymn. Although the didgeridoo can be provocative, the effect here resembles a gang of berserk monkeys. Despite early signs of promise, Jarre meanders into the desert. Much as he would like to stir the winds into orchestral motion, it might help to take a breath or two before the big dance.

Objective, Burma! (Franz Waxman, 1945) ***

Although John Morgan and William Stromberg made a crystal clear re-recording, I cannot find much purpose in Franz Waxman's Objective, Burma! Nearly 75% of this score meanders on a one-note journey. Beginning with “Main Title/Opening/Briefing in an Hour” and moving right along with “Take Off/In the Plane,” these are fairly mundane pieces. Despite the elaborate orchestrations, there's scant emotional weight. Eventually, the longest and finest track, “Missing the Plane/Waiting/Up the Hill/Williams' Death” removes the inertia in order to build solid craftsmanship. If Waxman's score had started here, my overall rating might be different.

SCORE OF THE MOMENT

Scarecrows (Terry Plumeri, 1988) *****

Criminy! I never knew a horror score could sound so good. Normally, I avoid this genre at all costs. It can be creepy, you know? However, for the faint of heart, there's no better place to start than Terry Plumeri's startling debut, Scarecrows. As a singular entity divorced from the gory picture, his music plays extraordinarily well. Whether it's the sophisticated application of theme, atmosphere, tone, pacing or counterpoint -- every element dances with confidence. According to Plumeri, this score featured an augmented string quartet, piano, several woodwinds, percussion and harp. In particular, the Eb contrabass clarinet shines through. After hearing just four notes, you better run for the hills because the Scarecrows are coming! Released by Intrada, this soundtrack is limited to 1000 copies. As of this writing, it's sold out.