Going for GOLD: And the Oscar goes to…By Timothy Austin

Going for GOLD: And the Oscar goes to…

By Timothy Austin

With the Winter Olympics over, our television viewing attention now turns to another race for gold, the 2014 Oscars.  Surprisingly, this year offers nominees that are Box-office hits and not the usual obscure December films that no one really saw but earned the admiration of the Academy. 

Nominees like ‘Gravity’, ‘American Hustle’ and the epic slavery saga ‘12 Years a Slave’ have dedicated fans hoping that their favourite film wins Best Picture on Sunday.  So what’s your best bet for Oscar gold?   

Here are predictions for the major categories:

Actor in a Supporting Role 

This is the easiest category to predict. The Academy often rewards actors who drastically change their appearance for a role, most times favouring the mostdrastic alteration.  Remember Charlize Theron’s unrecognizable role in ‘Monster’ and Hilary Swank’s ‘masculine’ performance in ‘Boys Don’t Cry’? Yep, they both won Best Actress Oscars for their unrecognizable performances; so will Jared Leto for his startling change into a drag queen dying of AIDS in ‘Dallas Buyers Club’.  Leto is remarkable losing significant pounds to appear as if he is dying of AIDS; the actor is completely unrecognizable and seems entirely immersed in his role to the point you completely forget you are watching a man in female attire.  Leto’s biggest competition comes from Barkhad Abdi as a brutal pirate in ‘Captain Phillips’, however even Abdi’s terrifying performance and the now famous line ‘I am the captain now’ cannot extinguish the ground breaking work of Leto in a performance people will be talking about for years.  

Who will win: Jared Leto

Who should win: Jared Leto

Actress in a Supporting Role 

Unlike supporting actor, this Oscar category is tough to predict as there is no clear favourite to win. My favourite is new comer Lupita Nyong’o who has certainly racked up the most press coverage for her stunning fashion sense.  Her role in the masterful ’12 Years a Slave’ is startling to watch as she endures tremendous cruelty throughout the film.  Her appearance is also striking as she seems emaciated and careworn in contrast to her regal red carpet appearances.  No doubt the Academy has noticed her incredible ability to transform and this may more than likely bring her Oscar gold.  However,  she faces tremendous competition from last year’s Best Actress winner Jennifer Lawrence for her sultry role in ‘American Hustle’ as well as Julia Roberts who delivered a powerful performance opposite Meryl Streep in ‘August: Osage County’. 

Who will win: Jennifer Lawrence

Who should win: Lupita Nyong’o

Music Original Score 

This category focuses on what the average movie goer would call the ‘soundtrack’ or ‘background music’.  Most viewers simply gloss over this category but make no mistake some of the greatest films ever made were successful because of their film score/soundtrack.  What would Jaws be without John William’s memorable theme or would ‘Titanic’ still be memorable without James Horner’s sweeping music for the famous ‘bow scene’?  This year offers less than memorable movie music including ‘Gravity’, ‘Her’, ‘Philomena’, ‘Saving Mr. Banks’ and ‘The Book Thief’.  The most memorable nominee for moviegoers is ‘Gravity’ with the film ending with powerful drum-heavy orchestral music; however the other nominees have failed to establish any real popularity with the average moviegoer and one has to question the failure of the Academy to nominate the chart topping music from Disney’s animated film ‘Frozen’.  While the title song ‘Let it Go’ easily earned a nomination, some in part to its humongous popularity, the orchestral music by veteran film composer Christophe Beck failed to be nominated.  Even Hans Zimmer’s music from Best Picture nominee and favourite to win ’12 Years a Slave’ failed to receive a nomination despite high sales of the soundtrack.  Without a clear popular nominee my money is on five-time Oscar winner John Williams for his moving score for the little known film ‘The Book Thief’.  Beyond this, your guess is as good as mine.

Who will win: John Williams

Who should win: Christophe Beck (Although he was snubbed for a nomination)

Best Actress in a Leading Role 

A few months ago I would have definitely predicted Meryl Streep as the clear winner for Leading Actress for her tour de force performance in ‘August: Osage County’ as Julia Roberts’ monstrous mother.  Then I saw ‘Blue Jasmine’ featuring leading actress Cate Blanchett and it was a revelation.  I have been a fan of Blanchett for her role in the popular ‘Lord of the Rings’ films; however I never expected such an exemplary performance as the one I saw in ‘Blue Jasmine’.  Blanchett is mesmerizing as a middle aged woman having a nervous breakdown as her world falls apart following her husband’s arrest for embezzlement.  No one should miss this performance as it exemplifies the highest achievement of an actress; Blanchett is completely absorbed in her role and there are moments when you watch her in awe thinking that in the hands of a lesser actress the role would not have been as effective.  Indeed no true movie fan should miss Blanchett’stransforming performance.  Make no mistake, despite stiff competition from Streep, Blanchett will win another Oscar.

Who will win: Cate Blanchett

Who should win: Cate Blanchett

Original Song 

Surprisingly, the Song category is the most controversial this year.  A nominee, who just happens to sit on the Academy’s music branch, was accused of illegally promoting his song ‘Alone yet not Alone’ to Oscar judges via an email.  Following the revelation, the Academy dropped the song as a nominee leaving only four nominated songs.  Many see this as a scandal as the song comes from a movie that few would have seen much less listened to the title song.  Blatant exclusions include ‘Young and Beautiful’ from ‘The Great Gatsby’ which undoubtedly was one of the most popular movie songs from 2013.  Scandal aside, fans of Disney’s blockbuster ‘Frozen’ are hoping that ‘Let it Go’ performed by Broadway veteran Idina Menzel wins the coveted prize.  Type covers of ‘Let it Go’ in Google and you will receive over 1 billion results as the song has become a cultural phenomenon.  Not since Celine Dion’s Titanic ballad has a movie song captured the attention of the world as the soundtrack has topped the Billboard 200 chart and the song continues to climb the iTunes charts.  However, ‘Let it go’ faces significant competition from Pharrel Williams’ ‘Happy’ from ‘Despicable Me’ which is close to becoming as popular as the National Anthem.  ‘Ordinary Love’ by U2 for Mandela: Long walk to Freedom’ also benefits from sentiment and has won the Golden Globe for ‘Best Song’.  Oscar voters almost always get this category wrong and the most popular song hardly wins, hence the favourite ‘Let it Go’ may lose to the sentimental U2 ballad.

Who will win: Ordinary Love by U2 from ‘Mandela: Long Walk to Freedom’

Who should win: Let it Go from ‘Frozen’ 

Best Actor 

This is the tightest race of 2014 with two outstanding nominees with equally brilliant performances going head to head.  Leornado DiCaprio is a favourite to win for his scandalous turn as a Wall Street tycoon who indulges in extreme spending, drugs and women in ‘The Wolf of Wall Street’.  DiCaprio is notorious for being locked out by the Academy despite the diverse amount of roles he has played since his star turning moment in ‘Titanic’, so most fans are hoping for a long awaited Oscar win.  However, like co-star Jared Leto in ‘Dallas Buyer’s Club’ Matthew McConaughey transformed himself through severe dieting to play a man dying of AIDS who goes in search of medication for the terminal disease.  McConaughey’s startling emaciated appearance received significant press coverage even before the film premiered and the Academy never fails to award actors who drastically change their appearance for a role.  DiCaprio is out of luck again.

Who will win: Matthew McConaughey

Who should win: Leornado DiCaprio

Best Picture 

Despite 9 nominees there is no real competition for Best Picture as ’12 Years a Slave’ has won every other major award including the Golden Globe.  This is the sort of sweeping, epic, historic drama that the Academy enjoys and has rewarded in the past.  The new take on the traditional slave story has won over many critics and the film has the large ensemble cast including a bearded and aged Brad Pitt that the Academy admires.  Lead actor Chiwetel Ejiofor, despite not being a front runner for Lead Actor, provided an astonishing performance well supported by Lupita Nyong’o; the film provides an ideal package that the Academy cannot ignore.

What will win: 12 Years a Slave

What should win: 12 years a Slave 

Written by Timothy Austin

Academy Awards 2013 - Who will win?

By Timothy Austin 

We are at the home stretch for the 85th Academy Awards and the studios are in an all out race to campaign for as many of the coveted trophies as possible.  Moviegoers seemed overall pleased with this year's list of Best Picture nominees as the Academy strives to improve its image as an organization connected to regular movie fans.  So who will bring home gold on Sunday night?  The Best Actor, Actress and Picture nominees are an eclectic bunch and for the first time in years there is no clear cut winner for Best Picture.  Here are my predictions for the 2013 Academy Award winners:

Best Supporting Actor

This is certainly the most difficult category to predict since all the performances, which include Tommy Lee Jones (Lincoln), Robert De Niro (Silver Linings Playbook), Philip Seymour Hoffman (Master), Christoph Waltz (Django Unchained) and Alan Arkin (Argo), have been critically lauded and all the competing actors have enjoyed equal acclaim at other award events.  While Tommy Lee Jone's wig in Lincoln did distract me quite a bit, bordering on comedy, his performance was tour de force, especially in key dramatic scenes with Daniel Day Lewis. Jones has been nominated three times, but despite his veteran actor status, has only won once for "The Fugitive".  This could be the year that the Academy once again honors an actor most of us respect as one of Hollywood's best.  However, there is no denying the unique presence that Christoph Waltz brings to the unnerving scenes in "Djando Unchained".  Waltz was a winner for 2009's "Inglorious Bastards" and has already won a Golden Globe for "Djando".  Watlz performance is undoubtedly the best supporting work of 2012 and it is most likely that he will become a two time Oscar winner on Sunday.

Who should win: Tommy Lee Jones
Who will win: Christoph Waltz

Best Supporting Actress

Unlike the Best Supporting Actor category, there is little doubt who will be honored here.  2012 was the year of Anne Hathaway.  Her performance as the prostitute, Fantine in the musical "Les Miserables" was the most incredible thing seen on the silver screen in years!  Not only did Hathaway lose an enormous amount of weight to play the abused and torn prostitute, she also sang the torch ballad "I Dreamed A Dream" live during filming rather than lip-sync to a previously recorded track which was the established standard.  The key scene in which she sings after coins are tossed at her for her "services" is awe-inspiring.  Hathaway's raw vocals resulted in not a dry eye at most showings of Les Miserables and the fact that she was singing live, while crying and hitting those sky-scraper notes is an Olympic sized feat!  Despite powerhouse competitor Sally Field for Lincoln, and Oscar nominee darling Amy Adams (Master), there is little doubt Anne Hathaway will not win her first Oscar on Sunday night.

Who should win: Anne Hathaway
Who will win: Anne Hathaway

Best Actor

Like the Best Supporting Actress race, the Best Actor category has a clear cut winner.  The competition is intense with fan favorite Bradley Cooper (Silver Linings Playbook), Daniel Day Lewis (Lincoln), Hugh Jackman (Les Miserables), Joaquin Phoenix (Master) and Denzil Washington (Flight).  Indeed, no one expects Daniel Day Lewis to walk home empty handed on Sunday night; his complete and total transformation into the Abraham Lincoln we have collectedly imagined is without a doubt one of the best portrayals of a historical figure in the history of cinema.  While I was thoroughly impressed by Day Lewis, I could not help but be in awe of Hugh Jackman's demanding role in Les Miserables.  Jackman is dynamic as he transforms from hardened criminal to doting father while performing some of the most powerful ballads from the famed Broadway musical.  Jackman's vocal performance alone deserves an Oscar, as he was required to sing all of his lines from the libretto.  Especially in the final half hour, Jackman's singing voice reigns supreme with genuine emotion and amazing range.  However, despite his amazing vocal stamina and powerful performance, Oscar judges have never allowed a poignant historical portrayal like Daniel Day Lewis to go unrewarded.

Who will win: Daniel Day Lewis
Who should win: Hugh Jackman

Best Actress

This category provides the widest range of performances of the year including 9-year old Quvenzhané Wallis for " The Beast of the Southern Wilds" and 85-year old Emmanuelle Riva for "Amour".  It is fantastic to see such variety in the Best Actress Category but despite receiving almost unanimous praise for their performances, very few will attempt to predict this year's winner since no performance truly captured notoriety the way Meryl Streep's "Iron Lady" did last year.  In fact, critics were predicting her the winner since the Iron Lady Trailer premiered.  With no Streep as competition, it's really a show down between the reigning Queen of Hollywood, Jessica Chastain and Naiomi Watts' stunning dramatic turn in the disaster film "The Impossible".  My money is definitely on Chastain for her gritty performance as a CIA Agent on a decade long hunt for Osama Bin Laden in the military thriller, "Zero Dark Thirty".  Is it just me or is Chastain in every other movie these days.  She has certainly become the Cate Blanchett of the current era, appearing as a clueless housewife in "The Help" (for which she was nominated), Brad Pitt's devoted wife in "The Tree of Life" and a victim of a haunting in the Box office hit horror, "Mama"; now Chastain has even taken her already prolific career to Broadway, starring in "The Heiress". The Academy loves to reward actresses as dynamic as Chastain, who many are already calling the next Meryl Streep. However, can they ignore how audiences have reacted to the tear-inducing performance of Naomi Watts in "The Impossible".  This is Watts best performance in years since her stunning debut in "Mulholland Drive", and few can deny the power of her performance as a mother struggling desperately to save her family after the 2004 Indian Ocean Tsunami.  Can Watts' heartbreaking desperation beat Chastain's domineering CIA agent? Unlikely.

Who should win: Naomi Watts
Who will win: Jessica Chastain

Best Music (Song and Score)

In the 90's it was easy to predict the Oscar winner for Best Song since Disney consistently collected gold for classic animated films like "The Lion King" and "Aladdin".  In later years, powerhouse love ballads like "My Heart will go on" dominated the category.  However, recently the winners have been quite a varied bunch as the Academy has awarded everyone from Eminem to The Muppets.  The front runner is clearly the masterful "Skyfall" from the newest James Bond film, written and performed by British phenomenon Adele.  The Academy will find it hard to ignore the fast popularity of the ballad which has a sound that is obviously written in homage to previous James Bond anthems like "Gold Finger" by Shirley Bassey.  Despite previous modern James Bond themes receiving the cold shoulder from the Academy, including Madonna's "Die Another Day", judges adore nostalgia and will certainly not miss the opportunity to give Adele her first Oscar.

Who should win: Adele
Who will win: Adele

The score category has always been one of controversy as previous winners have revealed the gap between the Academy and regular moviegoers.  Recent winners have been minimalistic soundtracks as opposed to popular scores such as "The Dark Knight".  This year, veteran composer John Williams (Star Wars, E.T., Jurassic Park) has received his 48th nomination and this could be the year that Williams takes home his sixth Academy Award for his breathtaking score for "Lincoln"; however a new trend in this category has been awarding scores with an exotic sound including A.R Raman's "Slum Dog Millionaire".  In fact the Academy has fallen so in love with Raman that he received a second nomination for his "127 Hours" soundtrack.  Previous foreign sounding scores that have dominated include "Frida".  If this trend continues, Michael Danna's "The Life of Pi" will definitely win Best Score with its lush, melodic Indian-flavored music.  However, one cannot deny that John Williams, despite being 81, has been on a winning streak critically with last year's "War Horse" and now "Lincoln" being given full masterpiece status by critics and soundtrack fans. Indeed, Williams' poignant, Wagnerian score deserves recognition but can it defeat the sitar and orchestral combinations in "Life of Pi"?

Who should win: John Williams
Who will win: Michael Danna

Best Picture

This coveted prize continues to be the most sought after accolade for any film maker and this year both critics and fans were pleased with the Academy's selections for the best of 2012.  The range is huge and includes the relevant, politically themed films such as "Zero, Dark, Thirty" and "Argo", historical dramas "Lincoln" and "Django Unchained", emotional tearjerkers "Les Miserables", "Amour" and "Silver Linings Playbook", as well as visually stunning masterpieces "Beasts of the Southern Wild" and "The Life of Pi".  Indeed the Academy has proven that it is still relevant in today's modern world of cinema as most of the nominees, especially Lincoln and Zero Dark Thirty, are Boxoffice hits and popular crowd pleasers.  The winner should be certainly clear to any avid Oscar fan by now; "Argo", the tale of a hostage rescue mission built on a fake film created to smuggle the hostages to safety disguised as actors is a tour de force film, directed by Ben Affleck and the Acamedy has never failed to award real-life historical drama such as "Argo".  The fact that the Academy was universally panned for failing to nominate Affleck for Best Director puts further pressure on the judges to grant the film the main prize, especially since the Actor/Director has picked up every other Best Director prize for his work on "Argo" including a Golden Globe and BAFTA (the British version of the Oscars).  Hence, there is little doubt that "Argo" will be crowned the winner on Sunday.  It's only other formidable competition is Steven Spielberg's "Lincoln", which despite being one of the best acted films in years, does not have the tense, thrilling impact of "Argo".  I would have preferred "Les Miserables" being honored, perhaps because I am partial to musicals or the idea that having to act and sing live is one of the most awesome accomplishments any actor can undertake.  Despite not having the gripping storyline of Argo, Les Miserables is a true cinematic wonder with its jaw-dropping cinematography, masterful music direction and fantastic costume design and sets, all supporting awe-inspiring performances by Hugh Jackman and Anne Hathaway. Indeed, if not for the huge competition from "Argo", Oscar judges would have little choice but to name Les Miserables Best Picture.  However, make no mistake, "Argo" is the Meryl Streep of this year's Best Picture Oscar race!

Who should win: Les Miserables
Who will win: Argo

Written by Timothy Austin

Top 10 Best Holiday Albums EVER

For adults Christmas is slowly becoming a depressing time of the year despite the commercial and religious messages of it being "the most wonderful time of the year" or "peace on Earth".  The hours spent cleaning, searching for the perfect plastic tree and demolishing your already depleted bank account on gifts for relatives and friends we are not entirely sure we really appreciate can put one in quite a sour mood.  The solution is to find the best mood-changing Christmas music ever released and thankfully there is much to chose from including Holiday standards from our childhood.  What are the BEST Holiday albums ever released that are sure to put you in the right spirit?  I've got the traditional classics that will stir those child hood memories as well as the contemporary hits that are sure to put you in that Holiday celebratory mood:

10: Ella Fitzgerald's Christmas - For those who grew up in the 60's, no modern singer can compare to the original Diva of soul singing, Ella Fitzgerald.  Her Christmas album is jam-packed with traditional Holiday songs and carols that are sure to gratify any listener searching for that traditional Christmas feeling.  Put this on while wrapping presents or decorating your tree and its pure magic!  Ella's soothing soul singing adds a calm, nostalgic feel to any Christmas celebration.  She avoids any original material and soars on well established church hymns including a stunning rendition of "Joy to the World", complete with a lush choir, as well as a calming version of "It Came Upon A Midnight Clear".  This is a must-have for any fan of traditional carols that is sure to fill your home with joyful childhood memories.

9. Home Alone - At any given moment during the Holiday season some channel is broadcasting Home Alone.  There is little doubt that the 90's film is the absolute favorite of any movie fan and the soundtrack, which features original music by famed composer John Williams (Jaws, ET, Star Wars) and classic Holiday tunes, has not escaped popularity as well.  It's not unusual to hear Williams' well-know Home Alone theme blasting from a co-worker's iPod or car stereo.  If there is one soundtrack that recalls the magic of its film, Home Alone is that soundtrack.  From Kevin's mischievous acts to the magical moods created by the film's locations, John Williams' score creates the perfect background for your Christmas shopping.  The score earned Williams another Oscar nomination for the now classic song "Somewhere in my Memory" which is performed by a children's choir during several key scenes in the film, creating that nostalgic, innocent Christmas mood.  Classic hits such as Brenda Lee's "Rockin' Around the Christmas Tree" add to the soundtrack's fantastic Holiday atmosphere.  There should be no hesitation in blasting this from your stereo if you are still in search of the perfect Holiday mood.

8. Kenny and Dolly: Once Upon A Christmas - I think it's time we forgive them for that over-the-top and tacky Christmas special which premiered in 1984 and has been making the family television rounds since; while fans refer to the television special as a "classic", we all know that without the gorgeous music, Kenny Rogers and Dolly Parton could have been imprisoned for the hideous costumes, sugary story lines and tactless script.  The Christmas album which inspired the television show is by far the best written Christmas album of all time, thanks mostly to Dolly Parton's bottomless song writing talents.  After all, the country diva did pen Whitney Houston's "I Will Always Love You".  In "Once Upon A Christmas" you find yourself recalling everything from lost loves to deceased family members you remember especially at Christmas.  The songs are simply fantastic especially "Christmas without you" and the new standard "Once Upon A Christmas" with its stunning orchestral opening and heartfelt vocals from Parton and Rogers.  There is no question that this album remains the gold standard for Holiday music.

7. N*Sync: Home for Christmas - For a different generation, the boy band N*Sync could do no wrong in 1998.  This included their platinum selling Holiday album featuring the hit "Merry Christmas, Happy Holidays". While it may be easy for some of us to dismiss the album as teen pop, for those who grew up during the boy band and Britney Spears era, the album quickly brings back memories of our teen years, especially the upbeat and dance- ready "Merry Christmas, Happy Holidays".  Perhaps it's unfortunate that some dismiss the album for its teen pop roots, since the boy band delivers some truly awe inspiring music including an acapella version of "O Holy Night" as well as a soulful rendition of "The First Noel".  Call them what you may, N*sync's Home for Christmas is a potent Holiday album that is sure to add cheer to your celebrations.

6. Merry Christmas II You - The newest entry on the list is the platinum selling follow up to 1994's "Merry Christmas" by the undisputed Queen of Christmas, Mariah Carey.  While the album continues to gain momentum to be on par with the universally beloved "Merry Christmas", it is quite frankly the most up beat Christmas album in years.  The high light is obviously the dance friendly "Oh Santa" which went on to top the Billboard R&B and Holiday Song Charts.  The track is delicious, as Carey delivers quick, staccato vocals to a pop beat that is sure to get you off your feet and humming along.  The song has been featured in dozens of commercials and films since its 2010 debut and there is no denying it is just as good as Carey's "All I want for Christmas is you", which continues to hold the title of Best Selling Christmas Song of all time.  Other album highlights include Carey's duet with her opera singing mom in "O' Come All Faithful" and the sensational dance club version of "Auld Lang Syne".  Fans of the Charlie Brown Christmas special appreciate Mariah's take on "Charlie Brown Christmas" with her sultry jazz vocals.  No one will be disappointed by this album since beyond the spirited Holiday atmosphere it generates, Mariah's vocals are sure to thrill with her multi-octave voice providing some of the best versions of "Here Comes Santa Claus".  This is a worthy sequel to her original Christmas album that possesses hair raising vocals that is sure to gratify anyone searching for upbeat Christmas music.

5. Josh Groban - Noel - Even if you are not a fan of the best-selling tenor with the voice of gold, "Noel" is a traditional Christmas album that few can resist. The listener will be impressed by the wall-to-wall traditional classics and carols, but it is Groban's skyscraper vocals that will inspire, especially on tracks such as "Ave Maria", "What Child is this" and "Panis Angelicus".  Indeed, Groban's jaw dropping vocals will help you to recall all those family moments that made Christmas of yesteryear so special.  In fact, the album illustrates why he is still revered as the best tenor alive.  No one should hesitate to make this classic sounding album part of their Holiday celebrations.

4. Barbra Streisand - Christmas Memories: For the Holidays, you cannot go wrong with a standard. Barbra Streisand remains a classic choice for anyone seeking outstanding female vocals on a Holiday album.  "Christmas Memories" is exemplary compilation of traditional and new Holiday songs that allow Streisand's superior soprano vocals to soar, providing the listener with almost ethereal feeling.  What I particularly admire about the album is that while it contains awesome versions of classics such as "I'll be Home for Christmas", Streisand takes big risks with new songs such as "I Remember" which is sure to leave any listener reminiscing about past Christmas celebrations.  I particularly like the line "...as I plug in my artificial tree".  The song is sure to leave you with that warm, nostalgic feeling with lyrics to which we can all relate.  However, make no mistake, Streisand's limitless voice is the star attraction of the album as she delivers spellbinding vocals that are sure to add that extra luster to your Holiday celebrations.

3. A Motown Christmas: For one of the most complete compilations of beloved Holiday classics look no further than "A Motown Christmas".  Here you will find all your favorites from The Supremes and Stevie Wonder to Smokey Robinson and The Temptations.  In fact, no Holiday can be complete without The Supremes' beloved rendition of "Santa Claus is Coming to Town" or "I Saw Mommy Kissing Santa Claus" by The Jackson 5.  It is hard to imagine a more sensational collection of R&B styled Christmas hits.  With standards such as "Rudolph the Red-Nosed Reindeer" by The Temptations, this album will have you reflecting on your most cherished Holiday memories.

2.Nat King Cole - The Magic of Christmas: Let us all agree: Nat King Cole is the undisputed King of Christmas.  Like Mariah Carey, his voice seems built especially for Christmas music as it easily stirs that whimsical holiday feeling we all experience at some point of the season.  His "The Magic of Christmas" remains one of the Best-selling Holiday albums of all time and its not hard to see why.  On tracks such as "O' Tannenbaum", Cole's mellow vocals create the perfect reflective atmosphere.  His trademark crooner voice is sure to change your mood with amazing renditions of "Hark! The Herald Angels Sing" and "O Little Town of Bethlehem", but it is his universally praised version of "The Christmas Song" that will bring the house down.  Despite the fact that classic song has been covered by dozens of artistes, critics and fans agree that it is Nat's version that remains the most superior.  It is for this reason that no Holiday collection should be without this landmark album. You simply cannot celebrate Christmas without the voice of Nat King Cole.

1. Merry Christmas - Mariah Carey: No one will argue with this selection for the number 1 Christmas album ever recorded.  Beyond the fact that it's currently the Best Selling Christmas album of all time, these tracks contain the most superior vocals ever recorded by a female artiste.  Indeed, there is little dispute that Mariah Carey is the Queen of Christmas thanks to the multi-platinum selling "Merry Christmas".  If it's the Holidays and your radio is on you are bound to hear one of her Christmas standards and few can stop the festive feeling one is consumed by when Carey sings a holiday song.  In fact, her version of "O Holy Night" is constantly referred to as the best version of the traditional song all in part to her glass shattering whistle note towards the end of the song.  What I particularly like about this album is that, despite Carey's use of her trademark melisma, she maintains the beautiful structure of the classic Christmas songs such as "Silent Night" as well as traditional hymns like "Joy to the World" complete with rousing choirs.  Her voice is simply superior to all others on these tracks, but it is her worldwide sensation "All I want for Christmas is You" that will have you gyrating on the dance floor.  Critics constantly refer to this Carey hit as the newest Holiday Standard and what is truly impressive about the song's success is that both the lyrics and music were written by Carey herself, reportedly on a small Casio keyboard.  If her giant vocal ability does not impress you, her song writing skills surely will since "All I Want for Christmas" has been covered by more artistes than any other modern standard.  Currently there are over 10 versions of the song charting on iTunes with Mariah's original at number 1.  The country band Lady Antebellum and Ce Lo Green are the newest artistes to cover the hit in 2012, perhaps generating more than enough royalties for Carey to send both of her twins to college all the way to Doctorate level.  Like the diva or not, no one dead or alive, sings a Christmas song like Mariah Carey.

The Amazing Spiderman: Original Motion Picture Soundtrack

Review by Timothy Austin

In a summer littered with blockbusters, including the 3rd highest grossing film of all time, 'The Avengers', Marvel Studio's newest super-hero outing, "The Amazing Spiderman" is under a lot of pressure.  Many are already stating that 'The Amazing Spiderman' is a needless reboot that simply rehashes the original story of Spiderman which most fans would have seen just 10 years ago in "Spiderman" starring Tobey McGuire. 

Critics have already crowned the reboot a winning entry in Marvel's long line of highly successful superhero films and those who share the opinion that 'Amazing Spiderman' is unnecessary need only refresh their memory by watching the last installment of the previous series to see why the franchise desperately needed a reboot. 

"Spiderman 3" was the most disappointing superhero film in recent memory despite the lavish 'Sandman' special effects and two villain story arch.  Many fans deemed the ridiculous dancing scene with Tobey McGuire a colossal waste of time and let's not forget the now infamous "egg-frying" scene with Kirsten Dunst.  Indeed, the last Spiderman film has left a bitter taste with fans and I painfully recall wanting to walk out of the theater during the overblown finale in which the sandman becomes giant-sized. 

Fans can now breathe a sigh of relief as new Director Mark Webb comes to the rescue with a fresh take on the Spiderman mythos.  Webb is not the first director you would think about for Spiderman since he has mostly handled dramatic, emotional films including the popular and critically acclaimed 500 Days of Summer.  However, it is obvious that Marvel has decided to ground the Spiderman franchise in more emotion as evidenced by the selection of veteran Hollywood actors Martin Sheen and Sally Field in key roles as Uncle Ben and Aunt May respectively. 

Also bringing more emotion to the reboot is highly popular film composer James Horner.  Horner remains the most prolific film composer with his 'Titanic' soundtrack at the top of the Best Selling Orchestral Score albums; he continues to gain notoriety having composed music for the current top two grossing films of all time, 'Titanic' and 'Avatar',  However, fans of the composer were surprised when his name became associated with this potential blockbuster since outside of his landmark score for 'Avatar', recently Horner has mostly composed music for small, dramatic films.  However, his music for 'Amazing Spiderman' is one of the most anticipated scores of the year, especially since fans have heard little from Horner since Avatar.  While the veteran remains at the top tier of film composers, a position he only shares with fellow veteran John Williams, many have been wondering if Horner's usual broad romantic, over powering style would suit a modern blockbuster; especially since film music has dramatically changed with the rise of Hans Zimmer and the many composers who frequently imitate his electronic, bombastic style. So does Horner live up to expectations?  Having listened to the score three times prior to this review, it is still hard to tell what effect Horner's new music will have on moviegoers and long time fans.

Horner begins much like Danny Elfman's opening titles for the original 'Spiderman' film with horn solos of the films main theme; but what sets Horner's music apart from Elfman's is his dramatic use of an easily recognizable theme for Spiderman.  While one needed about four listens of Elfman's Spiderman score to decipher the main theme, Horner makes no qualms about his broad, horn based main theme.  In fact, given the edgier super hero music we have heard recently in the X-Men films and the new Batman Franchise, Horner's upbeat and heroic 'Spiderman' theme may be jarring.  In typical Horner style the theme blasts forth with unapologetic bravado, pomp and ceremony in "Main Titles - Young Peter".  Here Horner's theme is in the line of his American bravado music for the 'Rocketeer' which will make many long time fans of the composer salivate.  The theme is stunning, if not slightly too upbeat for Spiderman, however Horner's use of pulsating electronic percussion gives the theme modern flare that downplays the overly heroic sound. 

The opening track also presents one of the most puzzling aspects of Horner's score: the use of ethnic  sounding voices.  Many score fans would remember the not-so-well received female Asian wailing voice in Danny Elfman's 'Hulk' score, but while Horner's ethnic voices are not as loud or jarring, one has to wonder why such an exotic voice is needed for a superhero film set in a bustling, urban city.  The tribal sounding voices appear in many segments of the score, including a pivotal action scene, but they are often over powered by Horner's constant use of heroic brass music and gushing strings.  Yet the use of the voices is indeed a curious inclusion by Horner who has utilized ethnic vocals to greater effect in 'Avatar' and the 1992 film 'Thunderheart'.  It is also hard to establish whether the foreign sounding voices are meant to be African or Asian in nature, which may have been Horner's intention since he never allows us to clearly hear the voices as they are accented by heavy brass and "clanging" percussion which create an other-worldly sound that is not common in most Horner scores.

Still on the subject of vocals within the score, Horner also utilizes a solo boy's voice to represent scenes of Peter Parker/Spiderman's childhood also heard in 'Main Title - Young Peter'.  The sound is effective as the boy's voice creates a haunting, eerie effect and emotionally captures the untold story behind the disappearance of the hero's parents.  Spiderman's untold past is a major selling point of the reboot and Horner delivers pure gold with his ghostly, almost unsettling solo boy vocals for this aspect of the film, especially when the ghost-like voice appears again in "Saving New York" during a climatic, emotional scene.   

Critics have noted the playful charm that new Spiderman actor Andrew Garfield brings to the reboot and Horner effectively aids the actor's comical scenes with upbeat, animated music as heard in "Becoming Spiderman" and "Playing Basketball".  Initially we hear what is a staple of the score: ethereal synthesizer strings playing Spiderman's transformation theme which is a soothing, almost heavenly passage; but this is soon interrupted by urgent staccato strings and horns signalling Spiderman's full transformation.  The heavenly synthesizer strings with hints of an electronic choir appear in large portions of the score and one can't help but notice Horner's preference for this electronic sound which seems right on target with a modern super hero film.  In fact, unlike previous scores of this large scope, Horner never utilizes an actual choir with real human voices; instead this is replaced by thick, soothing synthesizer strings and electronic voices.   

His music for Garfield's clumsy and awkward scenes as he becomes accustomed to his new powers is feisty with playful French Horn, staccato piano and "swishing" strings - a combination very similar to Elfman's Spiderman score. The more serious action scenes find the composer at his best with tracks like 'The Spider Room - Rumble in the Subway' hinting at ominous undertones with brooding orchestral majesty created by lush strings in the vein of Bernard Herman's most dark scores.  The action begins with "stabbing" modern electronic percussion and one has to listen carefully to hear how innovative Horner has become with his orchestrations as we hear the horns "bend" and "twist"  imitating Spiderman's staccato movements.  These passages are accentuated nicely with "snapping" percussion.

Tracks like "Secrets, "the Equation" and the "The Ganali Device" present another curious aspect of Horner's music.  In many portions of these tracks, the composer becomes very conservative which is in stark contrast to his bombastic main theme for 'Spidey'.  He creates lush string passages accentuated by mysterious synthesizer strings and electronic choral voices.  One gets the impression that Horner is deliberately trying to understate the dramatic revelations happening on screen until the final moments of track 9 "The Ganali device" where he allows a variation of the main theme to soar with gushing strings.

The more emotionally charged scenes, exemplified by track 10 'Ben's Death', present more striking contrasts between Horner's loud modern action music (complete with pounding electronic drum pad) and ghostly ethnic wailing followed by a heartbreaking, but heavily subdued performance by strings.  The inevitable death of Peter's beloved uncle receives Horner's most dramatic string and piano combinations in years.  Listeners will be surprised at how quickly Horner can change the pace of his score from heavy, metallic percussion and strings to almost funereal passages with a holocaust-like atmosphere.  The action picks up again with Horner's trademark staccato horn and yet another surprise: Horner infuses the scene in which Peter seeks revenge for his Uncle's death with a "shouting" male choir similar to the use of male choir in Hans Zimmer's "The Last Samarai".  The sound is heroic but the use of the tribal voices may be puzzling to most since the plot is based in a New York inspired setting.

The puzzling aspects of Horner's "Spidey" score continue with his beautiful piano-led passages for the relationship between Peter Parker and Gwen Stacey.  Horner creates an elegant romantic theme first heard in track 12 "Roof-Top kiss" by clarinet and then a slow, mellow piano.  What is puzzling about his music here is that while the love theme is certainly one of Horner's best in years, it is performed at deliberately low volumes and Horner never really develops the theme much further than track 12.  Again, the listener gets the impression that the composer was adamant about being conservative and never overstating the music outside of the bravado main theme.  Fans will admire Horner for this brave move but will long for a lush, loud performance of the stunning love theme by the full ensemble.  Perhaps there may be a full performance in the actual film which was not included on the soundtrack.  One can only hope, since the theme truly represents one of Horner's most melodic statements in years and provides the much needed emotional heft for the real-life couple of Garfield and Emma Stone who plays Gwen Stacey.

The finale climatic battle between Spiderman and The Lizard has some Elfman-sounding brass movements as the music imitates the reptile-like movements of the film's villain in track 15: 'Making a Silk Trap'.  Here Horner lets the violent action music rip with pulsating percussion and loud, giant brass crescendos in the style of 'Avatar'.  His use of percussion in track 17 'Saving New York' is nothing short of genius as the music follows closely the "swirling" movements of Spiderman with "swooshing"  strings and loud drum hits for the "clawing" actions of The Lizard.  Long time Horner fans will truly enjoy these giant action cues as Horner displays a more modern action style that closely resembles his bombastic finale for 'Avatar' including the haunting use of ethic voices. 

What is particularly enjoyable about Horner's Spiderman action music is that the heroic main theme is never far behind.  While in recent scores such as 'The Avengers' composers are reluctant to blast themes during key action scenes, Horner ignores this trend as Spiderman's main theme consumes the final battle of the film with stunning horn statements presenting major key lifts for stunning harmonic effects that will certainly be a hit with Horner fans.  Here, the composer delivers with loud, heroic action music befitting the web crawler and safely grounding the score with satiating statements of the catchy main theme.

The final cues, "I Can't See You Anymore" and "Promises - Spiderman End Titles" adequately conclude the score with a mixture of emotional heft and heroic bravado.  The stunning love theme returns in the latter track and Horner fans will be surprised that he did not include a full string statement of the theme; instead we hear a simplistic, extremely subtle statement by piano and strings. What is clear, however, is the superiority of the theme as it moves in soft, beautiful statements creating moments of enjoyable harmonic splendor played first by strings and then a tear-jerking clarinet. 

The final cue covers a stunning rendition of the main theme on piano, followed by a major key lift into a full blast of the theme by full orchestra.  However, Horner leaves the listener wanting more, especially when it comes to renditions of the love theme.  However, given the tremendous success of the film, Horner fans have some time to petition for a full statement of the Peter/Gwen love theme in 'The Amazing Spiderman' sequel.

Overall, this is James Horner's most curious score in years, even the "End Titles" music does not fully reveal what was his intention for the score as we hear another stark contrast of loud action music and subtle emotional strings.  Many aspects of the score are highly sophisticated especially the combination of strings and synthesizer in tracks like "Metamorphosis".  The composer also exudes a truly matured style with his conservative, subtle use of the love theme and the soothing string passages for the other emotional aspects of the film.  However, as stated before his use of ethnic sounding voices seems out of place for a Spiderman film; the solo boy's voice is certainly a highlight but the tribal coldness of the ethic voices may be jarring for many listeners. 

Horner also offers no real musical identity for the film's villain.  Apart from the "lumbering" horns used in the action scenes to imitate The Lizard's movements, we hear no defining texture or theme for the character.  Danny Elfman created effective themes for The Green Goblin and Doctor Octopus for the first two Spiderman films; Horner's lack of a recognizable theme for The Lizard is indeed curious.  Many fans debated that Horner may have used his universally known four-note danger motif to identify The Lizard, however the motif never appears in the score - another puzzling aspect  of the film since few Horner scores are completed without at least one statement of his infamous four-note motif which is even noticed by film critics.

The composer does however succeed at creating a truly memorable main theme for the title hero and this will perhaps be the legacy of this score should the film reach the heights of 'The Avengers'.  Without a doubt moviegoers thoroughly enjoy a soundtrack with an easily recognizable theme that they can recall even after leaving the theater and it seems Horner is fully aware of this since he infuses the theme in almost every track.  The theme may be slightly too upbeat for a modern day take on Spiderman and lacks the edge of similar themes such as John Ottman's "X2" main theme.  However, given the success of the bombastic scores for 'Captain America' and 'The Avengers' - both by Alan Silvestri - Horner may be satisfying modern day audiences longing for film music which recall John Williams' American bravado music from the 80's and early 90's.  Horner's 'Amazing Spiderman' is an enjoyable score but not an entirely satisfying one since many questions remain about his use of voices, overly conservative love theme and lack of an identity for the villain.  Horner's style within the score is also significantly different and long time fans will notice his new use of electronic percussion and Elfman-sounding action music, as well as his return to synthesizer strings and voices.  While the composer does present a palpable super hero score with a remarkable main theme and stunning romantic motif, listeners will be left longing for more long after the end credits track.  One can only hope "The Amazing Spiderman 2" also makes use of Horner's catchy music and we can finally bask in a full orchestral statement of the maestro's majestic love theme.

Review by Timothy Austin   Don't agree?  Liked the review?  Sound off below.

Avengers: Music from and inspired by the Motion Picture

Category:	Music
Genre:	Soundtracks
Artist:	Various Artists

Review by Timothy Austin

It's clear that Marvel was certain that they had a huge hit on their hands with "Avengers", a prime example being the exemplary presentation of the movie's soundtrack album. They have pulled out all the stops for the film's music by assembling what can only be described as one of the best rock compilations in years with a barrage of rock royalty which include hugely popular band Shinedown, rock veteran Papa Roach, Evanescence and Buckcherry. 

Indeed fans of the blockbuster film and collectors of rock albums will salivate at the very scope of the album which varies from "torchy" rock ballads to heavy metal violence. The stand out song comes immediately at track 1, and surprisingly its from lesser known band "Soundgarden" with "Live to Rise" again. Obviously the best cut on the album, the rock ballad is powerful with uplifting vocals which speak directly to the struggles endured by the heroes of the film. The ballad is in the vein of "Hero" by Chad Kroeger from the first Spiderman soundtrack (which I consider to be the BEST song from a superhero movie), and is the sort of powerhouse anthem that deserves "Best Song" Oscar attention. 

Soundgarden

Being a fan of "Shinedown" I was excited at their entry here and the band delivers with the heavy metal song "I'm Alive" which is the sort of heavy base song befitting the Hulk. While not as harmonically pleasing as "Live to Rise", the song perfectly exemplifies the anguish of the heroes as well as their internal conflicts. For causal fans of rock, the tracks outside the opening cut may be jarring as tracks like "Dirt and Roses" rely heavily on the harsh metal rock sound with pounding electric guitars rips that may send any listener into a "Hulk Smash". But for heavy metal fans, this compilation is a dream come true and indeed the producers should be commended for combining such major names in rock. Rock veteran Papa Roach may blow out your speakers with the anthem "Even if I could" which brings musical life to more of the emotional conflicts in the film with towering rock vocals and rip roaring guitar accentuated by a heavy drum beat.

Another highlight is the uplifting "Unbroken" by Black Veil Brides which succeeds since it references the overarching "unity" theme of the film aided greatly by smooth vocals and pulsating rock percussion. More mellow is Scott Weiland's "Breath" which is one of few more soulful tracks. The always ethereal Evanescence offers another break from the heavy rock atmosphere with the power ballad "A New Way to Bleed" which again references some of the painful internal conflicts endured by the Marvel heroes. Perhaps because lead singer Amy Lee offers some of the few female vocals, the cut is a center piece with the band's usual bitter/sweet lyrics and emotional delivery. But the heavy metal sound is never far behind with Buckcherry's "Where ever I Go". The popular rock artist delivers pure gold with a more Gothic rock approach and melancholy vocals which perfectly reflect on the more solemn moments within the blockbuster film. The ballad perfectly bookends the masterpiece soundtrack which will certainly be remembered as one of the best rock inspired compilations in recent memory.

There is little doubt that fans of the film will be impressed with this fantastic range of rock artists and the album's ability to recapture the intense pace, emotional drama and heroic themes of the film. Indeed, few comic book fans will argue that this album is exactly what the "Avengers" should sound like; in fact few soundtracks have come this close to mirroring intense action scenes with heavy rock metal. Moviegoers who made the film the giant success it is need not hesitate to make this album a priority purchase since it allows the listener to accurately relive the intense emotions of "The Avengers". 

Tags: song compilations, heavy metal, comic books, adventure, avengers, superheroes, action, rock

Prev: Avengers: Original Soundtrack/Score by Alan Silvestri

Avengers: Original Motion Picture Score

REVIEW:  Avengers: Original Motion Picture Score

 Music by Alan Silvestri

Review by Timothy Austin

The most anticipated superhero film since "The Dark Knight" has already commenced its slaughter of the Boxoffice, with international numbers exceeding the 200 Million mark. "Avengers" is a long awaited team up of Marvel comics' most popular superheroes, most of whom had their own signature film debuts leading up to this huge team up in "Avengers".

But while "Captain America", "Thor" and most significantly "Iron Man" had thunderous success at the Boxoffice with their own individual films, surprisingly "The Hulk" failed to find a core audience on film with many fans selecting the original 70s "Hulk" show as the more superior interpretation of the green superhero with a bad temper. However, despite the set backs of the two Hulk movies, Marvel has a mega commercial success on their hands with the "Avengers". The plot finds all the heroes partnering to halt the World extermination plans of Norse-god Loki, who was exiled in the "Thor" film (2011). With an all star cast that includes Robert Downey Jr. returning as Iron Man, Samuel L. Jackson as fan favorite Nick Fury and Scarlet Johansson as Black Widow, "Avengers" is the boxoffice gold fans have been waiting for and the first superhero team up of this nature to be attempted on film.

The music scores for the various Marvel films have been diverse with a range of popular film composers tackling music for Iron Man, Hulk, Thor and Captain America. Iron Man has not enjoyed the best reviews for its music with score reviewers deeming both "Iron Man" and "Iron Man 2" as having mediocre music, while "Thor" and "Captain America" have enjoyed rave reviews for their powerhouse scores. For "Avengers", Marvel and distributor Disney turned once again to "Captain America" composer Alan Silvestri for the original music and as expected much of what Silvestri created for "Captain" returns in "Avengers".

The score is a mixed bag and I doubt whether it will live up to the expectations of soundtrack collectors and score fans who may be expecting the broad themes of scores like John Williams' "Superman" or the innovative atmosphere of Zimmer's "Batman Begins" and "The Dark Knight". Silvestri who is best known for his classic music from the "Back to the Future" film series expands greatly on the bravado music he created for "Captain America" with a bold, but forgettable theme for the "Avengers". His music here is very militaristic and resembles most of what he wrote for the first G.I Joe Film with constant snare drums, pounding timpani and urgent staccato strings.

What disappointed me immediately was the lack of an opening titles montage which has become standard for Marvel films. Danny Elfman's opening music for "Spiderman" is instantly recognizable even to causal moviegoers while the opening music to the first three X-Men films is some of the best in the genre especially John Otman's "X2" montage music. Silvestri opens the album with "Arrival" and for those moviegoers who relished every frame of the movie this sort of approach is fine, but for veteran score fans the track may seem trivial, even anonymous, since it possesses only a few strains of the main theme; the rest is brooding orchestral music that could have been written for any military influenced film. That may be the overarching problem with this score; Silvestri simply fails to give the Avengers their own unique sound the way Michael Kamen gave the X-Men a modern, electronic-heavy sound that is memorable even today.

"Avengers" contains the sort of music that can be placed in any modern action film with tracks like "Doors Open From Both Sides" and "Tunnel Chase" containing standard orchestral drama with the usual jarring metallic sounds accentuating the constant orchestral "swells" and huge waves of horn heavy action music. There exists several themes but none that specifically identifies a particular hero; instead the composer creates a huge bravado theme that appears when all the heroes are working in unison which we hear again at the end of "Tunnel Chase". This brings me to another disappointment; while the theme is gigantic in sound and execution, it is not particularly memorable and this is surprising since Silvestri is noted for creating catchy themes for films like James Cameron's "Abyss" which remains his most underrated masterpiece, as well as "Back to the Future", which contains a theme that is now referenced in thousands of advertisements and is considered a classic. However, do not expect the "Avengers" theme to receive many references since it's the sort of theme that belongs more in a Saturday morning cartoon than a film of this magnitude. What makes matters worse is that the theme appears in full form only in a few tracks which include the final cues "One Way Trip", "A Promise" and the end credits suite "The Avengers". What may have definitely improved the overall score would have been more references to the main theme or at least references to another catchy theme for one of the heroes.

What Silvestri does get right is the pace and atmosphere of the film especially in tracks like "Helicarrier" which incorporates giant brass statements, "swooshing", romantic strings and huge horn belting which again sounds almost identical to his music from "Captain America" with many shades of "G.I. Joe". The composer also incorporates electronic percussion beats in the line of the James Bond spy thrillers for sequences involving the agency S.H.I.E.L.D and its agents Black Window and Hawkeye. The "Hulk" receives his share of references not with a specific theme but with harsh metallic "thumps" reminiscent of James Horner's use of an anvil in his classic action scores such as"Willow". Indeed, there are few comic book fans that will argue with the sound of the "Avengers" score since Silvestri definitely delivers on the heroic, Americana sound. However, after Summer 2012, few will even remember the theme for the "Avengers" since there is really nothing redeeming about the quality of the main theme or nothing memorable about the entire body of the score which lacks set pieces.

The tracks simply blend into each other without anything particularly noteworthy happening and for a movie with this many action pieces and twists it's hard to believe that Silvestri failed to create any awe-inspiring musical moments. Key to the score's lack of "awe" may be the lack of a choir. In the final moments of the score, as heard in "Performance Issues" there is a snippet of choral voices which may simply be a synthesizer, but the remaining final cues fail to make an impression simply because they possess routine action music rather than the pulsating, choir-heavy climax we are accustomed to in comic book films. Indeed, a huge choir seems painfully missing from the final moments of the "Avengers" given the gigantic action happening on screen.

Overall, the "Avengers" score is not a disappointment but a missed opportunity for the composer to deliver a fully satisfying score. Silvestri delivered a more enjoyable soundtrack for "Captain America" and with "Avengers" he truly had the opportunity to bring together all the amazing musical opportunities for each of the Marvel heroes. This would have been the score to truly place Silvestri in line with house-hold name franchise composers such as Hans Zimmer, Williams and Horner. Instead, we get a serviceable score devoid of its own unique identity or brand. Danny Elfman's music for the original "Spiderman" series and scores from the X-Men trilogy possess more superior music; even Marvel's newest X-Men entry, "X-Men: First Class" has a more modern and sophisticated edge with a catchy main theme few can stop humming after the end credits. This is what we needed in "Avengers", a theme and sound that is exclusive to the beloved Marvel heroes. As a fan of comic book movie soundtracks I was truly anticipating a score of more sophistication. Sadly, what Silvestri has delivered is large scale music destined to be lost among 2012's most bland offerings.

Tags: comic books, alan silvestri, adventure, score review, action, superheroes, marvel, score, soundtrack

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