by AG

1. HENRY V by Patrick Doyle

The first half of this first collaboration between Kenneth Branagh and fighting Scot Doyle is good, sometimes even a little stirring, but fairly boilerplate for this sort of Elizabethan epic; and THEN we come to the St. Crispin's Day theme, and suddenly, you have an a-list contender. Not nominated for an Academy award (but then again, this was the year Miss Daisy won Best Picture, so ...), which flat out sucks.

2. OUT OF SIGHT by David Holmes

Techincally this soundtrack isn't just score (it includes several songs, most of which can be skipped past), but it makes my list on the merits of David Holmes's moody, elegant score, a synthesis of trip-hop and soul which encapsulates the loneliness of the film's characters, and is great to have sex to.

3. THE SHAWSHANK REDEMPTION by Thomas Newman

In the last year, Thomas Newman (formerly Thomas Dolby, no lie) has written about three thousand film scores (Green Mile, American Beauty, Erin Brockovich), and all of them, in one way or another, sound exactly alike. Good news for Newman, and for us, that he has a fantastic sound. Gentle piano motifs, moody xylophones, and stirring orchestration - a style with which Newman hit his stride on with Shawshank, a score as emotionally engaging as the movie it supports. Not great to have sex to, but that's why it's number 3.

4. FIGHT CLUB by The Dust Brothers

Maybe not an all-time favorite, but certainly a current champ. Excellent, textured sampling perfectly supports and enhances the mood created by the movie. Good for having sex to if you're a creepy bastard (this is the movie, after all, that asserts "I haven't been fucked like that since grade school.").

5. PASSION by Peter Gabriel

Say what you will about Martin Scorsese's "Last Temptation of Christ" (personally, I found it to be a bit long, and not nearly as entertaining as "Jesus Christ Superstar," but honestly, what is?), but its score by Peter Gabriel is unimpeachable. A pastiche of Gabriel's electronic proclivities and Middle Eastern music, the music achieves levels of gloriousness that the movie doesn't. And call it sacreligious if you must (I don't, but that's me), but it's fantastic to have sex to.

1. THE CROW by Graeme Revell

Powerful and tragic. The film is so inseperable from it's music (both the song and the score) that to not own all three, is to not truly experience the film. The score guides you through the film. It's almost alive. It doesn't warn you about what's happening, it doesn't judge the action, it merely accompanies you and watches the events unfold with you.

2. ED WOOD by Howard Shore

More often then not, when you see a film by Tim Burton, you hear a score by Danny Elfman. That is not the case with "Ed Wood". In fact, you could almost say that it is inexcusable for Elfman to have not scored this picture. Almost. Howard Shore's score is quirky, eccentric and light. It is almost unaware of how deliciously over-the-top it is. This mirrors the spirit of Burton's vision of Ed Wood. It's interesting to think what it would have sounded like had Elfman done the music. Darker, I think. I think it would have focused on the ultimately sad end of the doomed auteuer and that kind of foreshadowing would have betrayed Burton's film. Wood sees himself as a great and epic filmmaker and Shore's music sees him the same way. It's almost as if this was the soundtrack playing in Wood's mind as he created his art.

3. STAR WARS EPISODE I: THE PHANTOM MENACE by John Williams

John Williams has created some of the most memorable scores in the history of film. When he sat down and composed his fourth score for the Star Wars saga he did something that Lucas and the others could not do with the film itself. It surpassed the originals. William's score doesn't just highlight certain moments, it brings to life every scene of the film. He wisely stays with the original opening piece. To not do this, would of course, be akin to Moses coming and saying he'd like to make some alterations to Genises. One thing that Episode I did well was point towards the future. How couldn't it? There isn't a self-respecting filmgoer on earth who doesn't know the outcome of the story. When Senator Palpatine tells a young hero Anakin Skywalker that he'd be watching his career with great interest, we laughed at the tounge-in-cheek illusion to the boy's ultimate fate. When Obi-Wan is first introduced to the Tatooine slave we paused at the realization of the exact moment the Padawan had literally meet his fate. However, it isn't until the waning end of "Anakin's Theme", when William's throws at us a few notes of his masterpiece, "The Imperial March", that Anakin's fate seems so real. So ominous. It isn't until that moment that we get chills.

4. E.T., THE EXTRA-TERRESTRIAL by John Williams

Simply put, this is one of the most magical and uplifting scores ever composed. It reminds us of what the world was like when we were kids, no matter how old we were when we first saw it. High on the long list of John Williams masterworks.

5. EYES WIDE SHUT by Jocelyn Pook

Minimalistic and understated, this score creates and builds tension better then any other element of the film. Most of the picture plays with little to no soundtrack and when it does appear it is only a select few notes. Never before has so much been made from so little.

1. A NEW HOPE by John Williams

How can you hear the opening march and not get chills? It alone was worth going to the theater. Jim played it at his wedding! (AG and I in no way cried). Sure the other films have the same themes, but they were based off of tracks from this one. Also, the medal ceremonial march gives me a sense of pride my own accomplishments can't give me. Not by a long shot. Where's my gun?

2. SUPERMAN by John Williams

"Put down that gun, Patrick, it's Superman! Noboby can feel bad watching me sail into the sunset, my music in tow!" Listen to this as you drive down the highway. You will believe a Chevy can fly. Theme music, every hero's gotta have some, and Kansas farm boy has the best.

3. MIDNIGHT RUN by Danny Elfman

The best Danny Elfman score in my opinion, because it's the most different. Don't get me wrong, I love his stuff, have most of his scores, but this one really stands out as not being Beetlejuice or Batman, but still a lot of fun. It's a small band, a couple of guitars, some horns, a piano, and a bluesy country feel. Also, bonus Oingo Boingo song at the end (big surprise).

4. HALLOWEEN by John Carpenter

One of the few directors to score his own movies is John Carpenter. Not only is he competent in this respect, he can be outstanding. The Halloween movies have some of the most effective and memorable music in all of horror history. Sure the notes are simple and repetetive, but they do the trick. The boogeyman is real, and he has a synth keyboard.

5. ENDLESS SUMMER 2 by Gary Hoey

Gary Hoey did the music for this surf sequel. Tough call as to wether it's a score or soundtrack, but since it's mainly instrumental, I put it on this list. I love surf rock and surf guitar, though I don't surf, and while this is a far cry Dick Dale or the Champs or [insert here] it still gets across a feel I can only assume is riding a tube or wave. I'm landlocked. I have no idea. S'good music.