Having flown under the radar for most of the year, FROZEN has been released amid a flurry of hype that’s seen it described as Disney’s best animated effort since BEAUTY AND THE BEAST. High praise indeed, but by no means hyperbolic. A sweet, charming and visually-stunning film, FROZEN updates the tropes of the Disney fairy tale without mocking or diminishing them. Following recent successes with TANGLED and WRECK-IT RALPH (a revisionist fairy tale dressed up as 8-bit nostalgia), Frozen’s success on the fairy tale front isn’t entirely surprising. What definitely is though is that it’s also the best, most original musical Hollywood has produced since MOULIN ROUGE. Continue reading



Considering how often enthusiasts talk about the current film score landscape being a barren post-apocalyptic wasteland patrolled by Remote Control productions like HK units from THE TERMINATOR, 2013 as a year has been pretty good. While we’ve had some great stuff from the big names, the amount of wonderful music from some newcomers has been really refreshing. In that vein, it’s time to add another newbie to the list with Oscar Navarro and his score for LA MULA. Continue reading



Shane Carruth is certainly making a name for himself, and after the well-received time travel flick PRIMER he’s back with UPSTREAM COLOR. Writing, producing, directing, and probably catering for the film as well, it’s been a very divisive picture (generally a good sign) and one that Carruth also composed the score for. But with his fingers in so many pies, is this a positive or a negative thing? Continue reading



I was really disappointed with James Newton Howard earlier in the year. While his work recently hasn’t been amazing on the whole, his score for AFTER EARTH was pretty tedious and uninspiring on the whole. So it’s with trepidation that I approach his music for CATCHING FIRE, the second movie in the HUNGER GAMES trilogy, especially as I was not a big fan of the first. Continue reading