Below are more soundtrack reviews of recent and archival releases.  

Along Came a Spider (Jerry Goldsmith, 2001) *** For the complete score presentation, Jerry Goldsmith's Along Came a Spider proves to be an enticing experience. Doubtless fans will recognise the close dialogue between synthesizers and orchestra. It was a lifelong fascination for Goldsmith. Actually, the electronics stomp in a low-key yet menacing gait as the wheels turn in the mind of Alex Cross (Morgan Freeman). Meanwhile, explosive moments occur at clever intervals. Thematically, the score can seem sparse with focus given to atmosphere and suspense. However, elements are borrowed from Total Recall, First Blood, The Edge and others. While Along Came a Spider may lack originality, it makes up for it with gumption and timbral expression. It's a solid effort which inspires more than one playthrough.  

Anaconda (Randy Edelman, 1997) *** Within the parameters set by a cheesy monster movie, composer Randy Edelman succeeds admirably. His work on Anaconda favours theme over dissonance. Yet, there's a spectacular misfire during "Anaconda (Main Title)." At 3:19, there are five consecutive references to Max Steiner's King Kong, specifically a three note rampaging motif. It's unmistakable. Meanwhile in 2004, Nerida Tyson-Chew would largely ignore Edelman's thematic foundations in favour of more experimental ideas. In terms of creativity and durability, I believe Tyson-Chew's effort felt stronger. That's not to take away from Edelman's achievement. Indeed, there's one idea which surpasses the sequel score. During "Travelogue," he establishes the adventure to come, and it's a score highlight. By contrast, the very same idea at 0:58 into "Elixir Perrinia Immortalis" from Tyson-Chew's Anacondas: The Hunt for the Blood Orchid came across as generic. Overall, Edelman makes a fine showing. At just over 30 minutes, Anaconda runs smoothly and without filler.  

The Children's Hour (Alex North, 1961) **** Virtuous calamity pumps meaning into the heart of passion. Alex North resists the temptation to condemn or sentimentalize the taboo. Such a rigorous decay consumes and renews like the sun making way for the night. Emotions are tactile yet delicate, burning frost made touchable and familiar. North's originality dissects the qualities which in other hands might seem presumptuous or pretentious. His mastery over the human emotional spectrum gave us new ways to experience musical poetry.   

The President's Lady (Alfred Newman, 1953) **** Enigmatic, sensitive and potent, Alfred Newman's score for The President's Lady devotes every chord to the human wavelength. The melodies are gorgeous yet instructive about the emotional forces leading these characters. As a grand master, Newman understood the limits of our anxieties but also the potential in overcoming extraordinary situations. Therefore, his brave work on The President's Lady ensures good company for the duration and beyond.  

The Taming of the Shrew (Nino Rota, 1967) **** Although a cast of characters can become blinded or hypnotised by the passions in William Shakespeare's text, for composer Nino Rota this notion seems quaint. While the themes flowing through The Taming of the Shrew come across as bawdy and gaudy, Rota resists falling too deep. He alternates between subtext and performances which spring directly from the screen. Both assume the most delightful dialogue, while conveying the extraordinary contrasts of a given scene. As such, the cello and oboe remain key in this matter. Because he establishes the dramatic and romantic tones via an open mind, Rota allows any alterations in mood to charm rather than alarm.   

Tinker Tailor Soldier Spy (Alberto Iglesias, 2011) *** I believe it's important to include my first impressions of Tinker Tailor Soldier Spy:   "Even those who like jazz could experience a tough time gathering emotion or meaning from Alberto Iglesias' work on Tinker Tailor Soldier Spy. The composer crushes listener involvement by denying our basic need for what happens next. A lethargic pace, cloudy instrumentation and rigid performance style flies in the face of instant gratification. Even repeat experiences might not develop the bond such music demands of its audience. As such, this falls under the "love it or hate it" umbrella reserved for avant garde projects. Meanwhile, Iglesias' compositions come across as pathological in their construction. Feelings of despondency, isolation and mistrust replace the sentimental and nostalgic. Prepare to be underwhelmed by such low-key ambitions."  

 For a quiet score, Tinker Tailor Soldier Spy inherits the burdens which entice a minority interest. It requires faith, not to mention concentration as the nuances gain significance slowly and sometimes imperceptibly. Frankly, the soundtrack has aged better than I thought. Then again, Iglesias makes no concessions regarding listener patience. So when the mood feels right, give it a spin.   

Eve of Destruction (Philippe Sarde, 1991) **** A poem:  

Composer dared risky flight

In order to be on sight.

A theme unfolding in code

Seeking enigmatic abode.  

He might be taking the Mickey

Sudden volume increase can be tricky.

Be aware of those opening bars

A jumble of many different cars.  

 Such style over content

Might leave some malcontent.

The effect seems rough or crude

Calling for brief interlude.  

 Like jazzy flail

And the need to assail,

A clash between machine and person

For one or other it'll worsen.

Scoring a character or human being

Offers another way of seeing.

Favour challenging haunts

Eve of Destruction simply taunts.  

 "New York Shoot-Out" left me perspiring

Diminish all thoughts of retiring.

To knock the status quo

Results in rare, creative flow.  

 Hamlet (Ennio Morricone, 1990) *** A poem:  

 William Shakespeare shatters

All heavenly and earthly matters.

Ennio Morricone responded wisely

His melodies play out precisely.  

A composer doesn't need collars

Even with A Fistful of Dollars.

Mournful violin produces tears

In light of greater fears.  

 "The Ghost" held a note

Until it melted into a new coat.

The science of the ghostly

Of unknown rhythms and measures mostly.  

Hamlet can be a haunting work

Minus pretension or murk.

The mood felt dark

Though individual pieces spark.

  Teenage Monster (Walter Greene, 1957) **** Time to rhyme:  

An ambitious medley

Sounds extremely deadly.

Teenage Monster stomped and hovered

The essential stuff covered.  

More music from Walter Greene

Would be holy and serene.

He might not be the oldest

Yet his methods proved the boldest.  

Music for stalking

As natural as walking.

Themes don't have to shield

In order to reach nominal yield.  

The character of a lion

In the shape of a dandelion.

Such tones have a buffering effect

Leaving one time to reflect.  

Impressive woodwind trilling

Guarantees Greene star billing.  

SCORE OF THE MOMENT  

Scaramouche (Victor Young, 1952) *****    A poem for this classic:  

How two dancers rhymed

Their emotions exactly timed.

A feeling for the ages

Precious thoughts on lonely pages.

Scaramouche conveys grace

At a fine and intimate pace.

Such music pure and glowing

Like one adept at sewing.

Romantic clouds upon the ear

Must be that special time of year.

According to Victor Young

How escapism perilously clung.  

Every note in the horde

Depicts the art of the sword.

For that fleeting parry

The intent must carry.  

Music that's honest and bracing

Keeps the heart racing.

So hold off on the inertia

And feel like a Prince of Persia.  

Counting steps until the next song

I can promise it won't be long.