Golden Cornea Awards 2011: The Scores

Well hello everyone, and welcome to the first ever Golden Cornea Awards! My personal favorites in the year of film. I'm going to start with my favorite scores from the year. I've separated them into two categories in order for it to make more sense. Sorry, I know I'm a bit long-winded. :)

Best Adapted Score

5. Armand Amar - "The Concert"

"The Concert" mixes great classical works with the beautiful score by Amar to such great effect, using the works of masters like Tchaikovsky and Mahler beautifully.

4. Carter Burwell - "True Grit"

The use of hymns is simply perfect and Burwell's arrangements are stellar. A simply gorgeous score that works solely for the movie's benefit.

3. Grizzly Bear - "Blue Valentine"

Grizzly Bear's poignant arrangements may have been slightly overemphasized in the sound mix but nonetheless are a perfect backing track to the emotions taking place on screen - neither aiming to dominate or change the tone but simply to accentuate the work of Williams and Gosling.

2. Clint Mansell - "Black Swan"

It's almost impossible to tell where Mansell begins and Tchaikovsky ends but the use of both of their music intensifies and scares, creating a Classically Romantic score unlike that of any other horror movie.

1. John Adams - "I Am Love"

The use of John Adams's unbelievable music in this film is absolutely perfect. It's gorgeous and lush but there's that sinister underbelly that lies just beneath the surface, just like the characters in the film, and it's impossible to deny the music's intensifying of that last scene.

Best Original Score

5. Akihiko Matsumoso - "Summer Wars"

Just like the movie, Matsumoso's score is whimsical and fun, and it makes a more-than-perfect companion to the eye-popping visuals.

4. Anton Sanko - "Rabbit Hole"

It's so subtle, you nearly forget it's there - and yet, the simple and the innocent instrumentation led by piano and clarinet creates a heartwrenching accompaniment to the poignant film.

3. Nigel Godrich - "Scott Pilgrim Vs. The World"

The song soundtrack is amazing but when it's not playing Godrich's hyperactive 8-bit rock score makes for a fun and frenetic musical soundscape that perfectly embodies the film and its characters. And, even when things get a little bit more sensitive, the score rises to the challenge with soft, Pitchfork-friendly atmospheres.

2. John Powell - "How to Train Your Dragon"

Seeing "How to Train Your Dragon" for the first time, the thing that jumped out at me the most was John Powell's sweeping, moving and epic score. Sure, it's very conventional compared to the other scores I've singled out but that doesn't mean it's any less. With a theme that is orchestrated perfectly so many times throughout, I get goosebumps every time I hear it.

1. Trent Reznor and Atticus Ross - "The Social Network"

No score this year has had the power to affect its movie as much as the score for "The Social Network" has. The main theme, though ridiculously simple, is so ridiculously perfect - the organic sound of piano over electronic textures is a remarkable combo that adds a whole other level of emotion each time it is played. And, the rest of the score doesn't fall short - it can be quiet, exciting, subtle or suspenseful, sometimes all within a single track. A simply perfect score.

Honorable Mentions: Edward Shearmur's score for "Mother and Child" is simple, poignant and beautiful, if not a bit unfocused; there's not much there but Byeung Woo Lee's score for "Mother" frames the film perfectly; I'm not a huge fan of Hans Zimmer and I do think it's a bit too loud but "Inception"'s score is still worthy of recognition; it's lesser Desplat but it's still Desplat - "The King's Speech" is lovely.

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So there you have it. What were your favorite scores of the year? Since music is so subjective, it's a lot of fun to hear everyone's opinions. Sound off below!

Thirty-Two Short Films About Glenn Gould (1993)

It's a bit embarrassing to admit that even though Glenn Gould is one of the hugest icons in the world of classical piano, my knowledge of him has always been relatively scarce. Of course, I'd been familiar with his recordings, especially those of Bach, as they are considered some of the finest in existence; and I was marginally familiar with some of his legendary quirks - namely, his compulsive aversion to performance and the trademark humming present in his playing. However, it was not until I finally watched Francois Girard's film "32 Short Films About Glenn Gould" that I was truly educated on the mysterious and ultimately fascinating figure that is Glenn Gould.

The film is pretty much in accordance with its rather descriptive title - the entire film is composed of thirty-two extremely short segments that together create an all-encompassing biopic of Glenn Gould's life. In reality, each of the segments is really less of a "short film" and more of a vignette, and each highlights a different aspect of Gould in a unique manner. Some of the segments are actual interviews with people who knew Gould, some are animations, and many are slightly more "traditional" biopic style portraits starring Colm Feore as Glenn Gould.

Far too often, biopics try to employ some kind of a structural gimmick to paint a full picture of their subject and they fail to either successfully execute the ambitious style or to tell a compelling story. However, "32 Short Films" is not one of those films. The style, which at first may appear like a cheap gimmick (since it is inspired by Glenn Gould's most famous recording of the 32 Goldberg Variations), actually works brilliantly to emphasize every fascinating piece of Gould's persona. And even while it's covering so many topics, it never feels overwhelming - in fact, each segment is just short enough for you to still want to know a little bit more, and this longing is what makes the film truly succeed as a whole. Glenn Gould is, in essence, someone who we can only know about through fragments and this film's fragmented structure preserves that sense of mystery.

Another necessary thing that the film does completely right is the integration of Gould's recordings into each of the short films. Each segment usually highlights one or two of his recordings and this aspect, perhaps, gives the film more emotional resonance than any other. Additionally, the transition of using his Baroque recordings in the first half to using the recordings of 20th century composers like Hindemith and Prokofiev in the later shorts is another subtle but perfect detail that truly heightens the power of Gould's transition into paranoia and illness.

The simple short "45 Seconds and a Chair", which is, surprisingly, 45 seconds long, simply features Bach's A Minor invention and one shot of a man sitting in a chair, simply listening to the piece. The simplicity of the music versus the listener makes this particular short one of the best and most memorable in the whole film.

Another standout is "Hamburg", in which we see Gould's chambermaid (Kate Hennig) react to a recording. Hennig's face is so expressive as she seems to live through all of her memories in the music. It's fantastic to witness, and one can relate to that sense of emotion since the music is so ridiculously wonderful. Of course, there are so many other fantastic shorts that I could rave about - "Practice" and "Passion According to Gould" are thought provoking and brilliantly directed and "Questions With No Answers" is really fascinating.

It's hard to find fault in the film, though its structure does prevent one from becoming completely emotionally involved. And, like most movies of this style, there are a few shorts that don't work quite as well as the others. However, overall the film is an absolute triumph. It's a fascinating, beautifully crafted and all-encompassing portrait of an absolutely essential figure in the history of music.

See it: If you even remotely like classical music. If you know nothing or everything about Glenn Gould. If you appreciate fantastic and memorable acting in small roles (Kate Hennig, what a performance!).

Skip it: If for some bizarre reason, you hate Canadians? Or if you cannot stand Classical music. I strongly disapprove of both of these reasons...but, hey. Haha.

9/10

2010 in Albums

Since I am sooooooooo not ready to review the past year in film (there are so many more movies I have to see, it's ridiculous), but I'm jealous of everyone else's nostalgia, I thought I'd share a few of my favorite albums from this past year, along with some of the best songs from said albums. I mean, music, it's what I do, so why not? Haha. In no particular order, here you go!

Sia - "We Are Born"

Sia's remarkably uplifting album is almost completely perfect - even the "weaker" songs (like "Cloud") are a ton of fun. And though there's nary a song on the album that you can't dance to, Sia's soulful vocals and poignant lyrics keep the songs from becoming mundane or superficial. It's pop music with major heart.

Sufjan Stevens - "The Age of Adz"

Such a moving album, the transformation from beginning to end is simply remarkable. Every single tiny layer is so meticulously placed and yet everything feels so ridiculously spontaneous that even the 25 minute closer to the album, "Impossible Soul", doesn't drag on. And even though this is the album where "Sufjan goes electronic" he doesn't lose any of his original personal emotion. For proof, just listen to "Want to Be Well" or "Vesuvius".

Best Coast- "Crazy For You"

The classic, summery emotions, beats and rhymes prevalent on each track of "Crazy For You" may seem, at the surface, to be a gimmick repeated to the point of unimportance. However, when you listen to each little gem (some not even two minutes long) you realize how perfectly fun and unique they all are. Majorly addicting, this album will make you feel like you're on a beach in California, no matter what time of the year it is.

The National - "High Violet"

While "Crazy for You" and "We Are Born" are a couple of the most fun albums of the year, "High Violet" is by a mile the most moving. Each song is complex, never too long and yet ultimately satisfying. When the album reaches its highest emotional point at "England", an indescribable feeling of bittersweet has taken hold and doesn't let go for days after you finish the rest of the album.

Little Boots - "Hands"

Quite a different style from The National, newcomer Little Boots is totally a guilty, sugary pleasure. This dance album almost evokes the early aughts and though the two standout tracks "New in Town" and "Remedy" completely outshine the other tracks, it is still, as a whole, perfectly addicting.

Crystal Castles - "Crystal Castles (II)"

Crystal Castles's second album was my introduction to this electronic duo and what an introduction it was. It's unlike anything else - atmospheric, exhilarating, and sometimes, even frightening. It disregards the rules in a way Ke$ha could only dream of doing. Plus, all those crunched 8-bit sounds totally cater to my nerdier side. Which is like, most of me, so, there you go.

Rihanna - "Loud"

I swear, I've had "Only Girl (In the World)" stuck in my head since the first time I heard it. I've never really cared much about Rihanna until "Loud" and it's fitting that this album is the one that finally caught my attention. I also give Rihanna props for performing on SNL and actually sounding decent. I'm not sure what it is about perfoming on SNL, but it seems like nobody sounds good on that show. So, congrats Ri ri. Haha.

Well, there you have it - and that's just a small portion of all the great music that was released this year (not even counting film soundtracks!). What were some of your favorite albums/singles from 2010? Share below!

THE MOVIE I'M MOST ANTICIPATING IN 2011

Haha. Just kidding. Though, I'm not going to say that I'm NOT going to go see this movie. It could be worth a few laughs. Just the 3D preview itself was pretty hilarious.

I am obligated to comment on this

Just a little sumpin' sumpin' I just came across today, to take our minds off awards season......

Well honestly, I have no idea what Ke$ha was going for here. I mean, with product placement more shameless than that in the "Telephone" video, religious imagery more unsuccessful than that of "Alejandro", and hairstyles worse than this, it seems like kind of a mess.

On the other hand, the song is fun, I have a guilty love for Ke$ha, and honestly I guess it fits the song pretty well. I can't say I'm disappointed! Plus, that part where she falls off the building...ooooonly Ke$ha. Only Ke$ha.

Ke$ha - love her, hate her, love to hate her, hate to love her, refuse to write her name with a dollar sign? Comment below!

Song of the Day, featuring Carey Mulligan!

Have you guys heard Belle and Sebastian's new album, "Write About Love"? I've been listening to a few tracks from it constantly, and one of them is the uber catchy title song, which actually features the amazing Carey Mulligan...SINGING! Yeah!

So the song is just awesome. Belle and Sebastian are a fantastic band, and I mean, Carey Mulligan. Everybody loves Carey Mulligan. :) And she can sing! Don't you love it when you find out that your favorite actors can sing? She should be in a musical. Yes.

Awwwww! I mean seriously. Who can resist this adorableness!

Here's the song for your listening pleasure...

Enjoy!

Best Score Ranking: 2006

5. Babel - Gustavo Santaolalla

Even though I quite love this movie, that doesn't mean I can't hate on its score, which is really nothing more than glorified background music. And, as incidental muzak it's perfectly fine, in fact it's quite good, but it is nothing that belongs anywhere near an Oscar nomination (let alone a win). The best moment in the score (which I've sampled above) was the final scene, and Santaolalla didn't even write it! It's an old piece called "Bibo no Aozora", by other Oscar-winner Ryuichi Sakamoto. The Academy really should have done their research on this one...*sigh*

4. The Good German - Thomas Newman

Very good work from one of my favorite film scorers, Thomas Newman. It's really good, especially in that opening - however, something feels off about it. It's old-fashioned in the best sense of the word, but for some reason it still doesn't completely fit. Perhaps it was more the movie's fault than its own, because it's still pretty good. (Sorry, I couldn't find a clip of it on Youtube!)

3. The Queen - Alexandre Desplat

Alexandre's first Oscar nomination is one of my favorite of his scores. It can't be easy to write for small, intimate movies like "The Queen" but Desplat does it very well - the score is as refined as the film and its characters, and it has an element of whimsy to it that just works greatly. You almost forget it's there, but that's not at all a bad thing. Sometimes it's good to be subtle! (Take notes Hans Zimmer...)

2. Notes on a Scandal - Philip Glass

I looooove Philip Glass. Without this score, "Notes" would not have been half as intense as it was, and it's truly fabulous work. I suppose at times it can come off as being a bit overbearing, but it's not that big of a problem. Glass's minimal structures and powerful harmonies are perfect for this tense drama.

1. Pan's Labyrinth - Javier Navarette

The fact that this lost is just unbelievable. Navarette's score is so haunting - the lullaby theme is one of the most brilliant written in years. It's simple, brilliantly orchestrated, and beautiful. Listening to this score later after watching the movie, and you'll recall every feeling that it holds. Great, unique and sincere work that gives me goosebumps!

Should Have Been Nominated...

The Golden Globes totally disagreed with the Oscars this year, nominating "The Da Vinci Code" (Hans Zimmer), "Nomad" (Carlo Siliotto), "The Fountain" (Clint Mansell) and "The Painted Veil" (Alexandre Desplat, who won), the latter two often considered the biggest snubs of the year. They also nominated "Babel", continuing the nonsensical obsession with that movie's score. I'd like to personally mention "Little Miss Sunshine" (DeVotchKa, though it wasn't completely original so it wasn't eligible) and "Volver" (Alberto Iglesias) as being a couple of my personal favorites from that year.

So there you have it, what were your favorites from 2006? Do you agree with my disdain for Babel's nomination? Have I missed any snubs? Sound off with anything below!

Updated Ranking Here.

Best Score Ranking: 2000

An interesting year, for sure. Relatively solid. By the way, I try to pick my personal favorite track as the sample for each score, in case you were wondering. Oh, and I did this year by request, so take it as a lesson everyone...if you ask me for a year, I'll probably go and do it! :)

5. Gladiator - Hans Zimmer

I know this is going to be controversial because people love this one, but...this score confused me. There were parts I quite liked, there were parts I quite disliked (they sounded meandering or useless), there were parts that sounded exactly like "Mars" by Gustav Holst, and there were parts that sounded just like "Pirates of the Caribbean". The main theme is great, but it's only really used WELL during the end credits. So, overall, it's a "meh" and a "wha?" from me.

4. The Patriot - John Williams

Well, another score from the John Williams Factory. No, that sounds condescending. It's really great, irresistibly Americana but it's by no means Williams's best work. It's not particularly "memorable" either, but it's still very beautiful. And do I hear some foreshadowing of "Harry Potter" in the flutes? Hm?

3. Malena - Ennio Morricone

Well, obviously, Morricone is a legend and this is a great score. I didn't love the movie, which doesn't help, and there is some weird instrumentation sometimes that I really don't like, but overall it's a great score with a lush theme and some truly gorgeous moments.

2. Chocolat - Rachel Portman

Like most of Rachel Portman's scores, this one is very tasteful and while it doesn't take any huge risks, it is really lovely work. I like how she makes it sound almost like a fantasy movie, which gives the movie a "fantastical" vibe that works greatly. And the spicy track at the top is just irresistible!

1. Crouching Tiger, Hidden Dragon - Tan Dun

One of my favorite scores, for one of my favorite movies. There's SO much good stuff about this score. First of all you have the amazing Yo-Yo Ma cello solos (playing that gorgeous theme). Then you have Tan Dun's brilliant decision to score the battle scenes minimally, only using drum beats to exhilarating effect...mmm. Beautiful, brilliant, and a great winner.

Should Have Been Nominated...

There is one horrendous, huge, horrible ommission here, and that's Bjork's haunting score for Dancer in the Dark. I know that not everyone like's Bjork's music, and maybe there was too much singing or something, but the score for Dancer in the Dark is just...beautiful. Haunting, painful, gorgeous, innovative...GAHHH

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So what was your favorite score of 2000? Was Bjork truly snubbed? Do you like Gladiator more than me? Isn't Crouching Tiger awesome? Sound off belowww!

And see the updated ranking heeere

Now Playing: The Concert

Like many, I fell in love with Melanie Laurent after witnessing her superbly butt-kicking work in "Inglourious Basterds". When I read that she would be playing a violinist in an upcoming French film, I knew that I had to see it...I mean, music + Melanie = I'm probably going to love this movie. And after watching this lovely little French gem, I can't say I fell completely in love, though it certainly did not disappoint.

In "the Concert", directed by Radu Mihaileanu, our protagonist Andrei (Aleksei Guskov), is the former-conductor-now-janitor of the Bolshoi Orchestra in Russia. His career was ruined years earlier after a risk-taking performance of the Tchaikovsky Violin Concerto was interrupted by the orchestra's Communist manager, Ivan (Valeriy Barinov).

Thirty years after that traumatizing event, Andrei intercepts a fax from a manager in Paris, asking for the Bolshoi to perform there. Seeing an opportunity, Andrei steals the fax, deletes the email and comes up with a plan - to reclaim his position as a conductor by putting together an orchestra and posing as the Bolshoi. With two weeks to go, Andrei must recruit a full orchestra made up of old friends and street musicians, with the help of his friend Sacha (Dmitri Nazarov), and the old manager who screwed him over.

Andrei plans to perform the Tchaikovsky again, and thus needs a violin soloist. He has his eyes on superstar Anne-Marie Jacquet (Melanie Laurent) and though things seem simple enough, there's a secret that Andrei hides that could change the course of the entire performance, and the fates of his friends and colleagues.

But don't be mislead by that ominous cliffhanger, "The Concert" is a comedy by the very definition of the word. Its writing is remarkably sharp and there are so many moments that are simply hysterical. The rag-tag orchestra's unprofessional antics bring on multitudes of laughs and the perfect comedic performances brought to us from Nazarov and Barinov are impeccably over the top without being annoying.

The film has a big heart as well, amplified by the sincere screenplay and the emotionally affecting performances. Each character has their own motives for reliving their musical heydays and each actor brings so much feeling to their performances. Melanie Laurent does particularly good work. She gives her Anne-Marie a cold, diva persona but there is so much beneath the surface. Her screentime is dissatisfying, but I blame that on the advertising people who make it seem like she's a co-lead. She's not, but she does beautifully in her relatively small role.

Being a movie about an orchestra, the music is obviously a huge part of the film, and it is absolutely wonderful. This isn't the first time the Tchaik concerto has been used as a plot point for a movie, but it's still one of the most beautiful pieces ever written. The original score is very unique and beautiful, and integrates perfectly with the rest of the film. Oh, and the actors actually look convincing while they're playing their instruments!!!!!! Take notes, "August Rush".

However, though I'm sort of singing its praises, "The Concert" is definitely imperfect. Its last act loses a large amount of the focus that makes the first part of the film great. I'm still conflicted about the conclusion, as well - without spoiling anything, I'll say that though I greatly appreciated the structural integrity employed, there's no way to get around the fact that it is extremely rushed. Yet, it is still a beautiful conclusion that left me in tears (thanks to Laurent and Tchaikovsky!).

Plus, it's not a film that will remain in your mind. I don't want to call it forgettable, but the only thing that stayed in my mind after leaving the theater was Laurent's performance. And to be honest, something like this would probably, nay, would DEFINITELY never happen in the real world of classical music (believe me! I have experience!). The plot and its resolution are quite unrealistic. I am, however, greatly happy that the film didn't fall into the sentimental bullcrap that I felt from its trailer. It never once went that far.

So if you get the chance, see "The Concert"! It's a gorgeous little film, a fast two hours that is full of good music and good acting. It's very funny, impeccably written (if you get past the ridiculous plot, which isn't so hard to do), and certainly one of the more enjoyable movies I've seen this year.

7/10

Catherine O'Hara Filmography: Rock and Rule (1983)

One of the largest facets of Catherine O'Hara's career is her work as a voiceover actress. And, as a lover of animation, I was looking forward to watching the Canadian cult classic "Rock and Rule", a movie that had a nightmarish release and has only recently been able to find an audience.

"Rock and Rule" is a trippy movie that takes place in a post-apocalyptic world in which humans have been replaced by highly evolved humanoid rats and society is evidently based greatly on rock and roll music. The evil, yet highly famous Mok (Don Francks) is searching for the right voice that will become the key to unlocking a demon from another dimension. He finds this voice in Angel (Susan Roman), the singer in a struggling band. When she is kidnapped, it's up to her hotheaded bandmate Omar (Paul LeMat) and the other members of her band to save her.

Overall, "Rock and Rule" is a pretty cool movie, besides having horrendous dialogue. The animation is cool to look at, exuding vibes of Ralph Bakshi and even Sylvain Chomet. There are some particularly stunning sequences, such as the demon summoning at the end. It also has a great soundtrack of songs from classic 80's bands like Cheap Trick, Earth Wind and Fire, Iggy Pop, and others. It's animation for adults for sure, and it works pretty well.

There's not much to say regarding Catherine's work in the movie, because her voice appears only in one scene as "Aunt Edith", the owner of a tattoo parlor that the band stays in while trying to save Angel. She does great voice work, or at least, as much as she could given the smallness of the role, all with a really funny New Jersey accent. Great voiceover work!

So that's about it on "Rock and Rule". I'd recommend it for sure, just as something different from your typical animated fare. OH, and Susan Roman, the voice of Angel, played Sailor Jupiter on the old "Sailor Moon" TV series. Which I watched. So when I heard her voice, it awakened something within me from my childhood. Haha. Funny stuff.

The Movie: 7/10
Catherine: too small of a part to "rate". haha
Best in Show: The musical performers!

"I Promise I'll Be Back."

Hello dear readers! Tomorrow I leave for two separate music festivals for three weeks each, which is six weeks in total, which means six weeks of intense music training and occasional partying. This does mean that my post output will most likely diminish noticeably for the next month and a half - but do not fear! I'll still have internet access at both festivals, and my movie watching will not go down (in fact, it has the potential to increase. You'd be amazed the amount of movies I watch at music camp...I;ve seen such great films as "Borat" and "There Will Be Blood" for the first time there).

Anyway, I just don't want ya'll to worry 'bout me, or worry that I'll stop commenting on your blogs. Tis not the case at all. I have some automated posts scheduled, but I'm still going to be around. Uh...then...as you were, all!

TV Meme Days 8 and 9

I'm a little behind as you can see...my apologies! :)

Day 8: A Show Everyone Should Watch

I have to give this honor to the always wonderful "Modern Family". One of my favorite new shows this season, Luke has already written a lovely piece on it that reflects my own feelings perfectly. I'll add though, it's perfect for everyone. No matter what your own family is like, or who you are, you will certainly find a character to relate to in this surprisingly sincere hodgepodge of hilarity. The show is always a joy each week, and I surely hope to see some Emmy love for at LEAST Sofia Vergara and Eric Stonestreet.

Day 9: Best Scene Ever

Flight of the Conchords! Such an amazing show.

This is really just too hard you guys. But the above scene basically made me die of laughter. Perhaps not the BEST scene EVER (that honor probably goes to an aforementioned moment in an aforementioned cartoon) but it's still pretty much amazing. See also, anything with Sofia Vergara in "Modern Family".

Ale-Ale-WHAT THE F***?!

I'm sure you've all seen the new Lady Gaga video for "Alejandro"...there are really not words to describe how I feel about this video. I just feel obligated to report on it because...I was super psyched for it, I love music videos, and, yeah, Lady GAGA!

So anyway, it was interesting. Definitely sensing a "I want to be Madonna" vibe...and this video has NOTHING to do with Mexico. Um...please react below, I'm so confused!

And in case you haven't seen it...um...NSFW?

Best Score Ranking: 1998 Musical or Comedy

This is a very nice category. I'm glad they don't still split the scores up, because that's weird. But, still, this is a great year and I quite love all the scores (except Patch Adams. Sorry Marc!) I'll do the Drama portion of 1998 later. Enjoy!

5. Patch Adams - Marc Shaiman



I'm being maybe a wee bit harsh with only 2 stars, because it's quite a nice score. But...is it Oscar worthy? Not really. Simply because, don't we hear this same sort of thing in every single family movie ever made? I mean, just take any good ol' family film and you'll hear this same exact soundtrack. Just sayin'.

4. A Bug's Life - Randy Newman



Pixar movies always have such great scores! And, my heart melts for Randy Newman. It's really a touching little score, very cute, very nice, and perfect for the movie. Just like most of Randy Newman's work. Haha!


3. Mulan - Jerry Goldsmith, Matthew Wilder, David Zippel



I like the songs more than the actual score, but really, it's great. Jerry Goldsmith is a master, and this is an interesting medium to see him work with! It surpasses many, many Disney movie scores. And yeah, I know I picked the most cliche song in the movie as my sample clip, but I LIKE IT! :( ahaha


2. Prince of Egypt - Stephen Schwartz, Hans Zimmer



I'm not a humongous fan of Hans Zimmer - sometimes I feel like his music is just a little bit too LOUD ALL THE TIME! But, that being said, Prince of Egypt is an absolutely wonderful score and some of the songs, especially "Deliver Us", are just...GOOSEBUMP inducing. *Shudder*

1. Shakespeare in Love - Stephen Warbeck



Was this even a question? This score wipes the FLOOR with all of the others! Stephen Warbeck's subtle, gorgeous work was the icing on the cake that made me love Shakespeare in Love. It doesn't try to be "period", it doesn't try to be overly romantic, it just works so naturally and it makes me feel so warm inside!

If you're curious as to how these scores stack up against the others I've ranked, go check out the newly updated Overall Ranking.

So, what did you all think of 1998? Was Shakespeare your favorite, or did you prefer one of the others? Do you have a particular year you want to hear about next? React down below!

Best Score Ranking: 2009

As a musician, I always find the music categories of the Academy Awards interesting (albeit frustrating at times). Thus, I'm going to start occasionally rating their Best Score nominees, and giving them "scores" of their own! Ahaha. It's inspired by the Best Leading/Supporting Actress rankings of Sage Slowdive and Joe Burns on their blogs.

I'll make this thing more or less frequent, depending on how you guys respond!

So let's start with last year - 2010. From least to most favorite. With a rating of 1-5 "cinematic music notes". Haha.

5. Sherlock Holmes - Hans Zimmer

It's a lot of fun and definitely in the character of the movie, but Hans Zimmer is sort of just doing his same old thing, and he hasn't really trumped a lot of his past work (Lion King!!!)

4. Fantastic Mr. Fox - Alexandre Desplat

So cute and wonderful! Perfect for the movie, which I also loved. Not my favorite Desplat score from the year, but still quite perfect, and a great surprise nominee.

3. Avatar - James Horner

I really love the music for this movie. Sure, Horner uses a lot of his old material, and it's "I See You" over and over, but...those grand scenes with this beautiful work in the background are just irresistable.

2. The Hurt Locker - Marco Beltrami and Buck Sanders

I really, really like that this was nominated. The theme is fantastic, and the atmospheric music for the "suspensful" scenes really added to the movie, without being overbearing. Quite a deserved nominee.

1. Up - Michael Giacchino

Yes! I went with the actual winner, but really, it's marvelous! One of my absolute favorite scores of the decade, with such an absolutely wonderful theme. Makes me tear up every time I hear it!

Should Have Been Nominated...

Broken Embraces (Alberto Iglesias), Coraline (Bruno Coulais), Julie and Julia (Alexandre Desplat), Ponyo (Joe Hisaishi), Where the Wild Things Are (Carter Burwell and Karen O), and so many more, this was a great year for movie scores.

React below!!! I need some ideas since this is new. What year should I do next?