NOT EVEN NOMINATED, PART TWENTY ONE

By Scott Bettencourt

CHOCOLAT - Rachel Portman
CROUCHING TIGER, HIDDEN DRAGON - Tan Dun (the winner)
GLADIATOR - Hans Zimmer
MALENA - Ennio Morricone
THE PATRIOT - John Williams

DINOSAUR - James Newton Howard

This Disney amalgam of computer animated dinosaurs and live action backgrounds was a frustrating film, technically stunning but marred by the knee-jerk cutesiness endemic to so many family films from the studio, with the impressive visuals often undermined by the familiar script and weak dialogue. This was the first of three animated films Howard scored for Disney, followed by Atlantis: The Lost Empire and Treasure Planet, and though the score's use of that trendy Africa/world-music sound is disappointing, it also features one of Howard's strongest main themes, the kind of instantly memorable melody that suggest Howard has the potential to be the John Williams of the 21st century (assuming Williams himself ever stops scoring films, which looks more and more unlikely at this point).

ERIN BROCKOVICH - Thomas Newman

This docudrama about a legal secretary's efforts to seek justice for the residents of a small town suffering from the toxic effects of their energy company followed the very similar A Civil Action by a little more than a year, but while Civil Action earned good reviews and Oscar nominations but little other notice, Erin Brockovich was a hundred million dollar hit and the first major Oscar contender of the year, helped by Susannah Grant's smart script, Steven Soderbergh's deft direction, and Julia Roberts' star power. Usually Soderbergh worked with composer Cliff Martinez, who had collaborated with the director ever since their first film, sex, lies and videotape, but though it was probably studio pressure that caused Soderbergh to hire Newman (who had scored two of the previous year's five Best Picture nominees, The Green Mile and the winner, American Beauty), Newman's score was nearly as abstract and low-key as Martinez' would likely have been, though Newman's score did feature a simple funky hook to represent the title character. The film's DVD release featured the score on a separate audio track, while the score CD features remixed version of several of the cues, presumably to make them a little more listener friendly. (Erin Brockovich received 5 Oscar nominations)

HOW THE GRINCH STOLE CHRISTMAS - James Horner

When the heirs of the late "Dr. Seuss" allowed filmmakers to negotiate for the movie rights to his classic How the Grinch Stole Christmas, the producing-directing team of Brian Grazer and Ron Howard won, and the result managed to both the director's highest grossing project ($260 million) and his worst film, with feeble humor, a badly padded plotline, and a general feeling of overproduced pointlessness. One of the few redeeming elements was Horner's score, his fourth for Howard, as the composer's warmth and gift for melody managed to provide the closest thing the movie had to genuine emotion. Unfortunately, the soundtrack CD shortchanged his contribution, with too many pop songs (though Horner himself also contributed some original songs to the film) as well as some unnecessary dialogue interpolations. (3 Oscar nominations)

MEET THE PARENTS - Randy Newman

Flirting with Disaster began Ben Stiller's typecasting as a sexually humiliated everyman, There's Something About Mary confirmed it, and Meet the Parents continued the trend while providing the perfect showcase for Stiller's talents, pairing him with Robert DeNiro who gave a much funnier and more believable performance than he did in his previous comedy hit, Analyze This. Newman allegedly took the scoring assignment because he felt Meet the Parents was the funniest film he'd ever seen, and though the assignment didn't exactly stretch his talents, his slightly Elfman-ish farce score found the right tricky comedic balance, and the film proved to be his biggest live action hit (until the even higher grossing sequel Meet the Fockers arrived four years later). The score is best remembered for Newman's Oscar-nominated opening song, "A Fool in Love," whose lyrics actually comment on the Universal and DreamWorks logos which they accompany. (1 Oscar nomination)

THE PERFECT STORM - James Horner

Sebastian Junger's non-fiction bestseller about a fishing boat's ill-fated encounter with the storm of the title was made with all the elements from the Titanic playbook -- glamorous stars (George Clooney), ill-fated romance (pairing Mark Wahlberg and Diane Lane), elaborate visual effects (the film was mostly sold on a CGI shot of a colossal wave dwarfing the boat) and even a James Horner score, complete with ballad ("Yours Forever," with John Mellencamp taking the Celine Dion role). While the Mellencamp song didn't exactly become the pop sensation that "My Heart Will Go On" was, the film was ultimately one of the biggest hits of the summer. Once upon a time, Wolfgang Peterson used to make films that were both stylish and intelligent (Das Boot, In the Line of Fire), but apparently over the years he lost his mind (or maybe just his soul), and despite being based on true events, Perfect Storm is as Hollywood-cheesy as you get. Horner's score similarly took a less than documentary approach to the material, emphasizing symphonic grandeur with a touch of rock guitar (presumably to reflect the working class characters), and his approach is effective but overall keeps reminding the audience "It's only a movie." Horner and Peterson reunited for the replacement score to Troy, yet another brainless spectacle based on acclaimed material, though apparently Horner will surprisingly not be scoring Peterson's return to Perfect Storm territory, the Poseidon Adventure remake. (2 Oscar nominations)

BLESS THE CHILD - Christopher Young

Probably not coincidentally, the end of the millennium saw a brief upsurge in Satanic horror films including the revised The Exorcist, Stigmata, End of Days, Lost Souls, The Ninth Gate, and this glossy but incredibly forgettable entry from director Chuck Russell (The Mask, Eraser), which if nothing else demonstrated that there are few good leading roles for a woman of a certain age in today's movies, even if, like Kim Basinger, you are amazingly beautiful and have recently won an Oscar. The only really surprising thing in Bless the Child is that, after nearly two decades of scoring horror films, Christopher Young managed to still find inspiration in the genre, writing a fresh choral and orchestral score that amazingly avoiced sounding like a ripoff of Jerry Goldsmith's classic Omen trilogy. GNP Crescendo released a soundtrack with a generous amount of Young's score, and it's well worth tracking down.

THE GIFT - Christopher Young

Danny Elfman was originally expected to score this Sam Raimi film, from a Billy Bob Thornton-Tom Epperson screenplay about a young Southern mother (Cate Blanchett) with psychic powers who gets embroiled in a murder. The always excellent Blanchett was supported by an outstanding cast, including Hilary Swank, Giovanni Ribisi, Greg Kinnear, Gary Cole, J.K. Simmons, Katie Holmes (whose topless scene inspired Harold & Kumar Go to White Castle's funniest line) and a surprisingly effective Keanu Reeves as Swank's abusive husband, but despite all the talent involved it was a disappointing and at times even dull film. Though Elfman had time to shoot a cameo as a bayou fiddler in a dream scene (a photograph of him in the role appears on both the song and score CDs from the film), Christopher Young ended up taking the assignment and his music was one of the film's strongest assets, capturing the Southern atmosphere expertly while evoking the supernatural with his usual elegance.

HOLLOW MAN - Jerry Goldsmith

Goldsmith was attached to several films in 2000 he didn't end up scoring -- Reindeer Games, Disney's The Kid, The Yards -- and the only film he did score was his first Paul Verhoeven film since 1992's Basic Instinct, a superbly crafted but ultimately disappointing (it felt like the most expensive Sci-Fi Channel film ever) rethinking of the Invisible Man story, with Kevin Bacon as the anti-hero and Elisabeth Shue as his ex-lover-turned-opponent. Verhoeven is the rare director who allows his composer sufficient time to collaborate on the score, and Goldsmith's Hollow Man score was a thoughtful and intelligent work, with an evocative main theme (fittingly reminiscent of his theme for The Vanishing) and thrilling action. The DVD release of the film even features the full score on an alternate track, interspersed with Goldsmith's discussion of his own score, and it's an absolute necessity for any Goldsmith fan's DVD collection.

MISSION TO MARS - Ennio Morricone

Ever so often, two Hollywood films emerge around the same time with remarkably similar premises -- monster underwater, Wyatt Earp, woman in jeopardy on a plane, and so on. In 2000, it was dueling Mars films, and while Red Planet took the pulpier, more action oriented approach, Brian DePalma's Mission to Mars was a lavish attempt at serious science-fiction. Like all DePalma, the film was expertly made, with excellent visual effects and an impressive cast (including Gary Sinise, Tim Robbins, Connie Nielsen and Don Cheadle), but the script was a disappointing retread of dozens of other (and better) science-fiction films, especially 2001, The Abyss, Five Million Years to Earth and Close Encounters. Although he remains one of the world's most respected film composers, Ennio Morricone's incredibly distinctive style has always made him an iffy fit for Hollywood movies, and while his Mission to Mars score doesn't always work in the context of the film, it stands out amongst the all-too-bland scores of the new century as a genuine attempt to break musical and dramatic ground, one of the rare recent sci-fi scores (John Williams' masterful A.I. is another) that actually tries to expand the repertoire of the genre rather than just recycle familiar musical tropes. Though the result is uneven, for his effort Morricone deserves to be acclaimed, though-- disappointngly but not surprisingly -- he hasn't scored a Hollywood film since.

UNBREAKABLE - James Newton Howard

The enormous commercial and critical success of The Sixth Sense allowed writer-director M. Night Shyamalan to do pretty much whatever he wanted next (after all, how many other horror films have earned a Best Picture nomination?), and though his realistically grounded story of an ordinary man who discovers he is, essentially, an indestructible superhero, was the lowest grossing of his three post-Sixth Sense films, it was also the best, anchored by a moving performance by Bruce Willis as the reluctant avenger. Possibly thanks to Sixth Sense producer Frank Marshall (for whom Howard had scored Alive), James Newton Howard had the good fortune to team up with Shyamalan, the rare director that not only brought him commercial success but allowed/inspired him to do his finest work. Those frustrated by Howard and Zimmer's low-key approach on Batman Begins may be even more frustrated to hear Unbreakable, as Howard was able to create a fresh and impressive superhero score that owed nothing to John Williams or Danny Elfman, yet was free of the tuneless grinding that marked Batman Begins. That Howard should continue to do outstanding work for Shyamalan on Signs and The Village is no surprise -- if only Shyamalan's recent films lived up to the music Howard composed for them.

David Arnold wrote arguably his best score for the frustrating updating of SHAFT, his over-the-top style blending perfectly with the great tradition of blaxploitation scoring.

Burt Bacharach made a welcome return to feature scoring with the Jacqueline Susann biopic ISN'T SHE GREAT?, though his pop-inflected score wasn't one of his more memorable works.

Angelo Badalamenti provided a varied score for THE BEACH, including a John Barry-ish main theme.

Tyler Bates wrote a techno inflected action score for the remake of GET CARTER, but the most memorable music was the reworking of Roy Budd's theme for the original film.

Jeff Beal gave the Oscar-winning biopic POLLOCK an inventive score somewhat in the Thomas Newman vein.

Christophe Beck had his first big hit with the delightful cheerleading comedy BRING IT ON, and also scored the gay ensemble comedy THE BROKEN HEARTS CLUB.

Marco Beltrami scored SCREAM 3, bringing to a close the trilogy where he first made his mark as a feature composer. His music was practically the only good thing about the amateurish serial killer thriller THE WATCHER, and he got to move into more supernatural horror territory with DRACULA 2000.

Elmer Bernstein wrote a light, appropriately Jewish-flavored romantic comedy score for Edward Norton's disappointing directorial debut, KEEPING THE FAITH.

Terence Blanchard scored Spike Lee's disastrous minstrel satire BAMBOOZLED and the acclaimed indie LOVE & BASKETBALL.

Justin Caine Burnett's enjoyable adventure score for the lamentable film of DUNGEONS & DRAGONS featured a surprisingly strong main theme, which makes it more of a pity that this young composer hasn't been heard from since.

Carter Burwell took a percussive, entirely non-melodic approach to the inevitable but dreadful sequel BOOK OF SHADOWS: BLAIR WITCH 2. He used a small ensemble to provide a typically brooding score for Michael Almeryeda's modern day HAMLET, and wrote a few cues for artist Julian Schabel's Oscar-nominated docudrama BEFORE NIGHT FALLS. His brief score for the Coen Brothers' O BROTHER, WHERE ART THOU? was largely forgotten amongst the hugely popular period songs, so it was a surprise that his contribution merited a For Your Consideration CD. He was allowed more scoring room on WHAT PLANET ARE YOU FROM?, but this Garry Shandling vehicle proved to be a flop as well as the most inexplicable project in director Mike Nichols' lengthy career.

Elia Cmiral brought his distinctively percussive style to sci-fi adventure for the year's most lambasted film, BATTLEFIELD EARTH.

Mychael Danna's score for Don Roos' old fashioned Hollywood romantic comedy-drama BOUNCE was an atypically bland effort for the composer.

After Marc Shaiman departed Disney's animated comedy THE EMPEROR'S NEW GROOVE, John Debney stepped in to provide a suitably peppy score. He mixed pop and orchestral elements for the football comedy THE REPLACEMENTS.

Pino Donaggio wrote a traditional orchestral romantic score for the old-fashioned period drama UP AT THE VILLA.

Patrick Doyle supplied lively period cues amidst the songs in Kenneth Branagh's musical update of LOVE'S LABOUR'S LOST.

Randy Edelman provided a serviceable enough score for the East-meets-West action comedy SHANGHAI NOON, but it was frustrating to imagine what a Goldsmith or a Broughton could have brought to such a film. The Demi Moore fantasy drama PASSION OF MIND was one of the year's worst films, but Edelman's romantic orchestral score was one of his strongest works. He wrote a characteristic synth-and-orchestra score for the modestly successful gangster comedy THE WHOLE NINE YARDS.

Danny Elfman wrote a discreetly emotional score for the It's a Wonderful Life ripoff THE FAMILY MAN, one of the few Elfman scores never to receive a commercial CD release, and emphasized percussive action for Taylor Hackford's kidnapping drama PROOF OF LIFE.

George Fenton wrote a supportive but bland score for the unconvincing dance drama CENTER STAGE, his fourth project for director Nicholas Hytner, and was unable to do much to help Nora Ephron's failed black comedy LUCKY NUMBERS.

Lawrence Groupe scored two films for entertainment journalist turned writer-director Rod Lurie, providing an all-synthesizer score for DETERRENCE and a warm, orchestral score (reminiscent of the John Quincy Adams cues from Amistad) for the Oscar-nominated THE CONTENDER.

Despite receiving Oscar nominations for Shine and Elizabeth, Australian composer David Hirschfelder has only scored one Hollywood feature since, writing a bland, inoccuous score for Diane Keaton's HANGING UP.

Along with scoring the hits Dinosaur and Unbreakable, James Newton Howard wrote a pulpy adventure score for the guilty pleasure mountain climbing adventure VERTICAL LIMIT.

Mark Isham wrote low-key and suitably stirring scores for two military dramas, RULES OF ENGAGEMENT and MEN OF HONOR. He reunited with director Alan Rudolph for the failed comedy TRIXIE, and scored a rare starring vehicle for Paul Newman, the flop caper comedy WHERE THE MONEY IS.

Maurice Jarre wrote restrained orchestral scores for his last two (to date) feature film projects, the Kim Basinger vehicle I DREAMED OF AFRICA and the epic family story SUNSHINE.

Dan Jones wrote a pleasantly brooding score for the Oscar-nominated fantasia SHADOW OF THE VAMPIRE.

Trevor Jones wrote an effectively driving orchestral score for the Cuban Missile Crisis docudrama THIRTEEN DAYS.

The well-photographed Satanic horror film LOST SOULS benefited from a striking and fresh score from Jan A.P. Kaczmarek.

Michael Kamen's X-MEN score featured some strong emotional material but lacked the memorable melodies that superhero scores demand. He also scored the derivative time travel thriller FREQUENCY, though J. Peter Robinson supplied the opening action cue.

Rolfe Kent wrote a pleasingly perky score for Neil LaBute's uncharacteristic comedy-drama NURSE BETTY, and also scored the flop Sandra Bullock comedy GUN SHY.

Wojciech Kilar's wry symphonic score for Roman Polanski's lush but disappointing horror film THE NINTH GATE sounded like a feature length homage to Ennio Morricone.

David Kitay scored the huge hit spoof SCARY MOVIE and the less successful comedy LOSER, and later included his music from those films plus Clueless on his amusingly titled promo CD Scary Clueless Loser. Unfortunately, he failed to find the right comedic balance for the cult favorite DUDE, WHERE'S MY CAR?

Joe Kramer wrote an impressive homage to the '70s sound of composers like Fielding, Goldsmith and Schifrin for the underrated thriller THE WAY OF THE GUN.

After Daniel Lanois' original score was rejected and the film was drastically shortened, Marty Stuart, Larry Paxton and Kristin Wilkinson composed an enjoyable country-and-Western score for the film of ALL THE PRETTY HORSES.

Mark Mancina provided lively urban action for the Jaime Foxx vehicle BAIT.

Clint Mansell wrote one of the year's most critically acclaimed scores for the stylish addiction drama REQUIEM FOR A DREAM.

Cliff Martinez wrote a brooding, ambient score for one of the year's most acclaimed films, Steven Soderbergh's TRAFFIC.

Richard Marvin wrote an effectively rousing if uninspired score for the exciting WWII sub thriller U-571.

Andrea Morricone evoked his father's distinctive romantic style for the teen drama HERE ON EARTH.

Ennio Morricone wrote a light period comedy score for Roland Joffe's underrated VATEL.

Mark Mothersbaugh utilized the original TV themes for his lively score to the lavish flop THE ADVENTURES OF ROCKY AND BULLWINKLE.

David Newman returned to familiar and popular turf with his warm, busy music for NUTTY PROFESSOR II: THE KLUMPS, and followed in the footsteps of Michael Kamen with the live action 102 DALMATIANS (though in both cases his music was available only on rare For Your Consideration discs). He also scored the Gwyneth Paltrow karaoke comedy-drama DUETS and Harold Ramis' uneven remake of BEDAZZLED, and returned to familiar terrain with the prequel THE FLINTSTONES IN VIVA ROCK VEGAS.

Thomas Newman brought his usual craft and gift for understated emotion for the failed Oscar bait PAY IT FORWARD, but his score didn't break any ground for the often experimental composer.

Lennie Niehaus wrote a restrained score for the hit SPACE COWBOYS, inevitably incorporating a theme composed by the film's director-star, Clint Eastwood.

Michael Nyman scored two films for director Michael Winterbottom, providing effectively emotional music for the urban drama WONDERLAND but unable to penetrate the remoteness of THE CLAIM.

Composer/editor-turned-director John Ottman scored his own debut feature, and his large-scale orchestral horror score for URBAN LEGEND: FINAL CUT was a lot more enjoyable than the derivative and disappointing film it accompanied.

Basil Poledouris collaborated with his daughter Zoe on the rock score for John Waters' CECIL B. DEMENTED.

Rachel Portman worked in her usual warm, orchestral style for the all-star failed Oscar bait THE LEGEND OF BAGGER VANCE, though some of her more lighthearted pieces were a little annoying in context. She wrote a catchy if repetitive score for the Full Monty-ish comedy THE CLOSER YOU GET (produced by her husband, Full Monty producer Uberto Pasolini) and a more stark score for the impressive arthouse drama RATCATCHER, which also featured Carl Orff's perenially overused "Musica Poetica."

The Antz team of John Powell and Harry Gregson-Wiliams reunited for the claymation feature CHICKEN RUN, giving this first rate animal adventure a fresh and lively score.

Craig Pruess wrote one of the year's most aggravating scores for the lousy indie comedy-drama WHAT'S COOKING?, featuring endless interpolations of the song "Wipeout."

Trevor Rabin's orchestral-synth action score for the unnecessary remake of GONE IN 60 SECONDS benefited from a nice vocal motif to represent the sought after sports car, "Eleanor." He wrote a warm orchestral score for the hit football drama REMEMBER THE TITANS, and a more trendy action score for the uneven cloning thriller THE 6TH DAY.

Graeme Revell found himself typecast in interstellar adventure with the animated TITAN A.E. and the year's second Mars film, RED PLANET; the former resulted in only a song album, while the latter produced a semi-concept album that was less than scrupulously faithful to Revell's score. He wrote a typically percussive score for a third interplanetary thriller, the cult favorite PITCH BLACK, which four years later spawned a Revell-scored sequel, The Chronicles of Riddick.

Richard Robbins' score for the engrossing French drama PLACE VENDOME sounded much like his Merchant-Ivory scores, and the final film featured many tracked cues from those scores.

Ryuichi Sakamoto's offbeat score for the stylish gay samurai drama TABOO consisted largely of repetitions of one main theme, which seemed to impress all the arty-farty film critics.

Philippe Sarde wrote a restrained, classical sounding score for Andre Techine's French drama ALICE AND MARTIN, starring Juliette Binoche.

Jerry Goldsmith was originally hired to score the Bruce Willis comedy DISNEY'S THE KID, but after creative differences caused him to depart, Marc Shaiman provided the film with a disappointingly cloying and familiar orchestral score.

Rising composer Theodore Shapiro scored two indie dramas, the acclaimed GIRLFIGHT and the underrated RESTAURANT, and wrote a surprisingly unmemorable score for David Mamet's moviemaking comedy STATE AND MAIN.

Edward Shearmur had his first two hundred-million-dollar hits with two female-centered action comedies, providing techno for CHARLIE'S ANGELS and a more traditional light comedy score for MISS CONGENIALITY.  He also scored the forgettable teen Cyrano WHATEVER IT TAKES.

Howard Shore wrote one of his most discreet scores for the film of Nick Hornby's HIGH FIDELITY which, not surprisingly given the subject matter, was dominated by rock songs. He wrote a typically striking score for the gorgeously designed horror-fantasy THE CELL, his music incorporating contributions from The Master Musicians of Jajouka. He wrote an effectively brooding original score for the all-star urban drama THE YARDS, as well as interpolating music by Host.

The most intriguingly spotted score of the year was for Robert Zemeckis' smash hit CAST AWAY, with Alan Silvestri's gentle main theme making its first appearance in the final reels, after star Tom Hanks has finally escaped from the island. Silvestri's score for Zemeckis' other 200 hit, WHAT LIES BENEATH, was a big disappointment, paying homage to Bernard Herrmann for this slickly made ghost story without finding a satisfying new approach. Capping a record boxoffice year for the composer, he had a third huge hit with the fantasy-comedy WHAT WOMEN WANT. He also wrote an extremely low-key suspense score for John Frankenheimer's final film, the heist thriller REINDEER GAMES.

Shirley Walker provided an effectively spooky main theme for the surprise hit horror film FINAL DESTINATION (which has just spawned a second sequel), though overall her score tended to go a bit over the top.

Stephen Warbeck's sparsely spotted score for the acclaimed BILLY ELLIOT ran the emotional gamut, from brassy and triumphant music for Billy's dancing scenes to a gentle piano theme to evoke Billy's love of his late mother. He wrote a suitably dark period score for the Oscar-nominated QUILLS, though his music is heard to better advantage on the CD than in the film.

Gabriel Yared continued his typecasting in tragic romance with his warm, melodic score for AUTUMN IN NEW YORK. He also scored the Madonna-Rupert Everett teaming THE NEXT BEST THING, whose only tragedy was its extreme terribleness.

Christopher Young provided a peppy, lounge music-tinged score for the indie comedy-drama THE BIG KAHUNA, and contributed an atypically funky but effective score for Curtis Hanson's excellent film of Michael Chabon's WONDER BOYS.

Hans Zimmer's score for MISSION: IMPOSSIBLE 2 was one of the film music year's biggest disappointments, the composer eschewing the inventive orchestral sound of Danny Elfman's predecessor score for an undifferentiated rock mess. He provided pleasant Irish music for Barry Levinson's disastrous comedy AN EVERLASTING PIECE, and collaborated with John Powell on the failed cartoon THE ROAD TO EL DORADO.

ALL THE PRETTY HORSES - Daniel Lanois
SUPERNOVA - Burkhard Dallwitz

All the Pretty Horses, Alice and Martin, Autumn in New York, The Basket, Battlefield Earth, The Beach, The Big Kahuna, Bless the Child, Boiler Room, Book of Shadows: Blair Witch 2, Bounce, The Cell, Chicken Run, Chocolat, The Claim, The Closer You Get, The Contender, Crouching Tiger, Hidden Dragon, Deterrence, Dinosaur, Dr. T and the Women, Dungeons and Dragons, The Emperor's New Groove, Erin Brockovich, An Everlasting Piece, Get Carter, The Gift, Gladiator, Godzilla 2000, Gone in 60 Seconds, Hamlet, Hanging Up, Highlander: Endgame, Hollow Man, How the Grinch Stole Christmas, I Dreamed of Africa, Isn't She Great, Keeping the Faith, Kikujiro, The Legend of Bagger Vance, Lost Souls, Love's Labour's Lost, Malena, Meet the Parents, Men of Honor, Mission: Impossible 2, Mission to Mars, My Dog Skip, The Ninth Gate, Nurse Betty, Passion of Mind, The Patriot, Pay It Forward, The Perfect Storm, Place Vendome, Pola X, Pollock, Proof of Life, Quills, Red Planet, The Replacements, Requiem For a Dream, Rules of Engagement, Scream 3, Shadow of the Vampire, Shanghai Noon, The 6th Day, The Skulls, State and Main, Steal This Movie, Sunshine, Taboo, Thirteen Days, Thomas and the Magic Railroad, Time Regained, Timecode, Traffic, 28 Days, Two Family House, Unbreakable, Up at the Villa, Urban Legends: Final Cut, Vatel, Vertical Limit, The Virgin Suicides, The Watcher, The Way of the Gun, What Lies Beneath, What's Cooking?, Where the Heart Is, The Whole Nine Yards, Wonderland, X-Men, and The Yards.
 

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