NOT EVEN NOMINATED, PART TWENTY TWO

By Scott Bettencourt

A.I. ARTIFICIAL INTELLIGENCE - John Williams
A BEAUTIFUL MIND - James Horner
HARRY POTTER AND THE SORCERER'S STONE - John Williams
THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING - Howard Shore (the winner)
MONSTERS, INC. - Randy Newman

BLACK HAWK DOWN - Hans Zimmer

Though Jerry Bruckheimer has produced several Tony Scott films, this adaptation of Mark Bowden's non-fiction bestseller about American military involvement in Somalia and a notorious helicopter crash was the only Bruckheimer production which Tony's brother Ridley directed, and unlike such glossy, soulless entertainments as Tony's Beverly Hills Cop 2 and Days of Thunder, Black Hawk Down was an impressively bleak and visceral portrayal of modern day warfare, and, despite its violence and intensity, showed a strong sense of humanity and tragedy which Ridley's previous film, Hannibal, severely lacked. Hans Zimmer provided one of his collaborative, performance-based scores, emphasizing the exotic setting and the story's tension. Cues such as "Hunger" and "Still" featured a simple but plaintive motif, while "Leave No Man Behind" had a more overtly melodic and emotional theme. The cue "Chant" was an interesting mix of rock and exotic sounds, while "Tribal War" was a dark but propulsive action theme spotlighting percussion. While Scott and Zimmer reunited on Matchstick Men, scheduling conflicts led the composer to back out of Scott's underrated Kingdom of Heaven (another story of Westerners at war in the East), which was scored by Harry Gregson-Williams.(Black Hawk Down received 4 Oscar nominations)

GOSFORD PARK - Patrick Doyle

It should not be surprising that a director such as Robert Altman, with his offbeat, groundbreaking style and actor-centered approach to filmmaking, had such an erratic career, alternating classics like M*A*S*H and Nashville with failures like the virtually unreleased H.E.A.L.T.H. He followed his early '90s critical hits, The Player and Short Cuts, with dull, mean spirited efforts like Ready to Wear and Cookie's Fortune, so the immensely satisfying Gosford Park was doubly surprising. Working from a first-rate script by actor-turned-writer Julian Fellowes (a familiar face from films such as Baby: Secret of the Lost Legend) which deftly balanced a whodunit plot with a large ensemble of well developed characters (played by a staggering array of talents, everyone from Clive Owen and Ryan Philippe to Maggie Smith and Helen Mirren), Altman managed to make a film that felt truly Altman-esque and also genuinely English, as well as unusually warm and emotional, funny and yet moving. Altman's films rarely feature traditional scores, and even John Williams' two efforts for the director, Images and The Long Goodbye, were the composer's most experimental works, but Gosford Park benefits from a subtle, melodic score from Patrick Doyle. His calm music lacks the bombast that often distinguishes the Doyle ouevre, and his score ignores the mystery and suspense elements, using varied orchestrations to evoke the mood and setting rather than hitting the dramatic beats. The Decca soundtrack CD featured a pair of original songs by the composer, as well as actor Jeremy Northam performing songs by Ivor Novello, a popular actor-singer-songwriter of the era who starred in early Hitchcock films (Northam memorably portrayed Novello in the film, the only real-life figure in the fictional storyline). (7 Oscar nominations)

IN THE BEDROOM - Thomas Newman

Actor-turned-writer-director Todd Field adapted an Andre Dubus short story for this suburban drama about a middle-aged couple (Tom Wilkinson and Sissy Spacek) whose son's affair with an "older" woman (Marisa Tomei) leads to tragedy and revenge. The film earned raves on the festival circuit, and though it nearly fell prey to the sharp scissors of Miramax, it was released at the end of the year intact, earning modest box office but excellent reviews and major Oscar nominations (though no Oscars). Befitting the film's low-key style, largely favoring silence over melodramatics, Thomas Newman's score was one of his briefest and most restrained. The main and end titles feature a memorably agitated theme, and the cue "Baseball" glows with subtle warmth, but overall the score is used to support the mood rather than to heighten the drama. The brief Varese Sarabande CD also features three choral source cues (Spacek's character leads a small town choral group). (5 Oscar nominations)

IRIS - James Horner

Iris was one of two end-of-2001 biopics which Horner scored; the other, of course, was A Beautiful Mind, which was a surprising boxoffice smash and earned Oscars for Picture, Supporting Actress, Director and Adapted Screenplay. Iris was a small-scale look at the author Iris Murdoch and her relationship with her husband, writer John Bayley, moving back and forth between their courtship (with Kate Winslet and Hugh Bonnevile as the young couple) and their later years (with Judi Dench and Jim Broadbent) when Bayley took care of the Alzheimer's afflicted Iris. The film was remarkably moving, with uniformly excellent acting, and Broadbent deservedly won the Oscar for his performance (though in fairness, he should have been nominated for Actor instead of Supporting Actor). Overall, it was a much more powerful and honest film than Beautiful Mind (and earned a fraction of the money), and Horner's score was greatly superior to his nominated Mind score. His Mind music, though effective and tasteful, had distracting echoes of earlier scores like Sneakers and Bicentennial Man, while Iris was a fresh and original work highlighted by violin solos by Joshua Bell. The Sony soundtrack CD, annoyingly, titles its cues "Part 1" through "Part 8" which makes it hard to identify the individual themes, but nonetheless, Horner's score is one of his loveliest, and it is hoped the film will still be screened long after Mind is forgotten. (3 Oscar nominations)

PEARL HARBOR - Hans Zimmer

Pearl Harbor was a mega-budget Jerry Bruckheimer production which tried to do for the bombing that began American involvement in World War II what James Cameron's Titanic for a certain shipwreck, as well as providing the kind of old fashioned WWII romance and derring-do that's rarely seen in contemporary Hollywood films. Despite generally bad reviews and a lackluster romantic triangle (Bruckheimer and director Michael Bay aren't exactly the most romantic and humanistic of modern filmmakers) the film managed to reach the $200 million mark at the box-office, helped no doubt by the impressively executed central setpiece (by far the finest piece of filmmaking in Bay's career, with superb visual effects). Zimmer tried to bring some emotion to the flat, generic love triangle, but his gentle, low-key themes couldn't overcome that obstacle. His score features some vocal work reminiscent of Ennio Morricone, and the "December 7th" cue features an almost explicitly religious choral section. The Hollywood Records CD favored the intimate material over action cues, frustrating many fans. (4 Oscar nominations)

THE CAVEMAN'S VALENTINE - Terence Blanchard

Kasi Lemmons' film version of George Dawes Green's mystery novel featured an unusual gimmick -- its "detective" (played by Samuel L. Jackson in a brave but not entirely convincing performance) is a musical prodigy turned homeless schizophrenic. The mystery plotting was implausible and convoluted, and Lemmons' visualization of Jackson's madness featured confusingly homoerotic imagery, but the film was an intriguing and unusual effort (barely released by its studio, Universal), and benefited greatly from Terence Blanchard's score. Blanchard had scored Lemmons' debut feature, the family drama Eve's Bayou, and on Caveman's the filmmaker gave her composer unusual latitude -- it was the year's boldest and most unfairly ignored score. As with Herrmann's Hangover Square, Blanchard had the rare opportunity to write compositions for an unbalanced composer hero, and his striking music, using a wide orchestral palette but placing particular emphasis on the piano, managed to evoke the character's madness far more memorably than the direction. The Decca CD was a satisfyingly lengthy representation of the score.

THE MUMMY RETURNS - Alan Silvestri

The impressive grosses of Stephen Sommers' 1999 reimagining of The Mummy made a sequel inevitable, but Jerry Goldsmith's lack of participation was a surprise. Goldsmith had originally been announced to score Sommers' 1994 Jungle Book and went on to score Deep Rising and The Mummy for the director. Deep Rising was one of the composer's most routine efforts but The Mummy saw him in rare form; despite his lively and rousing score, Goldsmith apparently didn't enjoy his experience on the film and declined to return for the sequel, leaving the assignment open for Alan Silvestri. The sequel was even more nonsensical than its predecessor but had its own distinctive charms, helped by the use of a married couple (Brendan Fraser and Rachel Weisz, reprising their Mummy roles) and their young son as the protagonists. The composer gave the film his most satisfying score since Forrest Gump, not using any of Goldsmith's original Mummy melodies while providing rousing action material (such as the cues "Evy Kidnapped" and "My First Bus Ride") and appealingly large-scaled Egyptian-themed cues that suggest how Silvestri might have approached a Golden Age historical epic. The Decca soundtrack CD featured many terrific cues, but unfortunately the scoring and release dates were too close, so some major material was left off to get the disc into stores faster.

PLANET OF THE APES - Danny Elfman

The name brand value of Planet of the Apes made a remake sadly inevitable, even though the original film -- with its witty script, groundbreaking makeup, first-rate direction, memorable performance from Charlton Heston, and of course, Jerry Goldsmith's classic score, which helped change the sound of film music -- still holds up well today, and its unusually ambitious sequels worked nearly every possible variation on the premise and even brought the story full circle. The hiring of Tim Burton to direct this substantially reconceived remake seemed to hold some promise, but of all of Burton's films this felt the least personal, the most like an assignment. The new script was illogical, the action scenes were unexciting, and Mark Wahlberg was no Charlton Heston. Even the production design, usually the highlight of any Burton film, lacked the imaginative simplicity of William Creber's work on the 1968 version. Rick Baker's makeup designs however (bizarrely, not nominated for the Oscar) were typically excellent, and the other major redeeming factor of the film was Danny Elfman's score. Elfman faced perhaps the most daunting film music assignment since Goldsmith scored Psycho II, and he smartly took a similar approach by largely ignoring Goldsmith's original and blazing his own trail. His exciting score made healthy use of percussion and mixed synthesizers with his usual offbeat orchestrations, and featured an especially rousing main title. Unfortunately, as with The Mummy Returns, the soundtrack CD was finished before the score, but as if to compensate, Elfman included two original "Ape Suites," new pieces which he ultimately reworked for the score.

THE SCORE - Howard Shore

The movie year 2001 seemed to be surprisingly laden with stories of heists and thieves -- including Swordfish, Heist, and The Fast and the Furious -- and this caper, directed by Frank Oz, featured perhaps the most impressive star lineup of the year, three generations of acclaimed actors - Edward Norton, Robert DeNiro, and Marlon Brando. The film was slickly made but unsatisfying, and of the three stars, Norton gave the one memorable performance. Taking the assignment amidst his years-long labors on the Lord of the Rings trilogy, Shore seemed to relish the chance to score a modest, small scale entertainment, and his jazzy score helped provide more wit and tension than the director and his quartet of credited screenwriters (never a good sign) managed, working droll variations on a simple main theme and building tremendous momentum over the course of the score.

THE SHIPPING NEWS - Christopher Young

There are some films, where the source material is so acclaimed and the cast is so stellar, that awards and acclaim seem inevitable (The Hours, Cold Mountain). And there are others, conversely, that feature an equally impressive package yet are doomed to obscurity (The Human Stain, All the King's Men). The Shipping News, which Lasse Hallstrom (following his two Best Picture nominees The Cider House Rules and Chocolat) directed from the Pulitzer Prize-winning novel by Annie Proulx (author of Brokeback Mountain) with a cast of past Oscar winners and nominees including Kevin Spacey, Julianne Moore, Cate Blanchett, Judi Dench and Pete Postlethwaite was, for most people, in the latter category. The end result, which earned mix reviews and had only the briefest stay in theaters, was a moving and honorable attempt to bring a difficult novel to the screen. After The Hurricane and Wonder Boys, Christopher Young was finally beginning to be seen as a composer who could handle more than just horror, and his Shipping News score is one of his most satisfying efforts (even earning him a Golden Globe nomination). His Celtic-inflected music manages to be subtly moving without betraying the essential bleakness of the storyline and the film's Newfoundland setting. His main theme is memorably stirring while avoiding traditional Hollywood uplift, and is used most effectively in the final cue, "Sail On," where his music provides emotional closure otherwise lacking in the film's abrupt ending. Hallstrom and Young reunited on another family drama, An Unfinished Life, but Young's work was ultimately replaced by a more conventionally warm score by Deborah Lurie.

Director Alejandro Amenabar provided his own low-key, classically tinged orchestral horror score for the stylish THE OTHERS.

Craig Armstrong wrote a dour, percussive action score for the Luc Bresson production KISS OF THE DRAGON, and provided the acclaimed incidental music for MOULIN ROUGE.

David Arnold had a rare chance to work on a period swashbuckler with his enjoyably over-the-top score for THE MUSKETEER, wrote a low-key score for John Singleton's BABY BOY, and was a last-minute replacement on the cult comedy hit ZOOLANDER, which allowed him to take his James Bond style into a goofier setting.

Asche & Spencer provided a moody, ambience-dominated score for the Oscar-winning indie drama MONSTER'S BALL.

Angelo Badalamenti brought his trademark drones to David Lynch's MULHOLLAND DRIVE, writing a score that earned rave reviews but didn't sound all that new.

Steve Bartek utilized an original Danny Elfman theme for his score to the failed black comedy NOVOCAINE, and the music nearly matched the film's annoyingness.

Marco Beltrami had a rare chance to score a "people movie" with the modest but unsatisfying drama ANGEL EYES, which its studio inaccurately sold as a Sixth Sense-style thriller, and Beltrami's score was suitably sensitive and restrained. He provided exceptionally bleak thriller music for John Dahl's derivative but effective JOY RIDE.

Terence Blanchard's music competed with Mariah Carey songs for attention in the much derided musical GLITTER, while he gave the ludicrous Cornel Woolrich remake ORIGINAL SIN a suitably sultry and jazzy score.

BT provided an effective synth-and-orchestral mix for the sleeper action hit THE FAST AND THE FURIOUS, and scored another, less well remembered car racing film, Renny Harlin's DRIVEN.

Carter Burwell provided a few of his distinctively brooding cues for THE MAN WHO WASN'T THERE, but like many other late Coen Brothers movies it used very little original score. His music for the dull A KNIGHT'S TALE largely avoided the distracting contemporary elements of the song score, but still wasn't the rousing swashbuckler score the film could have desperately used.

John Carpenter's GHOSTS OF MARS was his last feature film and score to date, and he gave the disappointing sci-fi thriller a heavily rock-edged score.

Edmund Choi wrote a sentimental, Horner-ish orchestral score for the Australian comedy THE DISH.

Elia Cmiral gave the urban horror film BONES a score which emphasized mood and texture over melody.

Bruno Coulais scored the guilty pleasure French thriller CRIMSON RIVERS with a suitably dark and moody sound.

Jeff Danna composed a strong main theme for the modern-day Othello O, though the score was a little too repetitive.

Mychael Danna brought restraint and genuine warmth to HEARTS OF ATLANTIS, a rare element of real emotion in this well-crafted but greatly disappointing William Goldman adaptation of a Stephen King story.

In the gap between Matrix films, Don Davis provided satisfying orchestral thrills for the underrated JURASSIC PARK III, mixing his own original themes with the familiar Williams melodies from the first film. He provided energetic music for the empty Bosnian war adventure BEHIND ENEMY LINES, a varied suspense score for the evil-Bill-Gates thriller ANTITRUST, and effective unease for the slasher film VALENTINE.

CATS & DOGS gave John Debney the opportunity to provide a lively pastiche which was more appealing than the film itself. His score for the surprise hit THE PRINCESS DIARIES featured distracting echoes of Paul Chihara's Crossing Delancey. He provided energetic adventure music for JIMMY NEUTRON: BOY GENIUS, and scored the black comedy HEARTBREAKERS using original Danny Elfman themes. He also scored the forgotten kids comedy SEE SPOT RUN, and was one of several composers (including Danny Elfman, Harry Gregson-Williams and Heitor Pereira) who contributed cues and themes to the sleeper hit SPY KIDS.

Alexandre Desplat wrote a lushly romantic score for the Nabokov adaptation THE LUZHIN DEFENSE, his music at times evoking the likes of John Williams and Thomas Newman.

Patrick Doyle composed a competent but forgettable romantic comedy score for the hit BRIDGET JONES'S DIARY, one of the few Doyle scores to lack a CD release, and the British comedy-drama BLOW DRY itself barely earned a U.S. release.

Anne Dudley wrote a raucous, Elfman-esque score for the uneven comedy fantasy MONKEYBONE.

Randy Edelman scored two flop high-concept comedies, the Martin-Lawrence-in-Medieval-England farce BLACK KNIGHT, and the animated-antibodies-inside-Bill-Murray's-body romp OSMOSIS JONES. He also scored the Chris Kattan vehicle CORKY ROMANO, and he shared the scoring credit with Steve Porcaro on the ghastly Freddie Prinze Jr. comedy HEAD OVER HEELS.

Cliff Eidelman provided his typically restrained yet emotional style for the flat autobiographical drama AN AMERICAN RHAPSODY.

John Frizzell contributed bouncy, Elfmanesque support for the surprisingly enjoyable JOSIE AND THE PUSSYCATS, while his score for the remake of THIRTEEN GHOSTS was more palatable than the film's incessant, cacophonous sound effects.

Lisa Gerrard and Pieter Bourke reteamed with The Insider director Michael Mann on ALI, providing a typically atypical score for the biopic, supplemented by songs of the era.

Elliot Goldenthal was overqualified to score the technically impressive but dull CGI feature FINAL FANTASY: THE SPIRITS WITHIN, but he gave it his typically fresh and striking sound.

Jerry Goldsmith reunited with The Edge director Lee Tamahori for ALONG CAME A SPIDER, a sequel to Kiss the Girls, but his suspense score was one of his more routine efforts. His music for the underrated military prison drama THE LAST CASTLE was more effective, though its main theme sounded distractingly like one of his Rambo themes; he also turned the theme into a concert piece memorializing the victims of 9-11.

Paul Grabowsky wrote a catchy, jazzy score for the excellent British drama LAST ORDERS, the first Fred Schepisi film in over a decade not to be scored by Jerry Goldsmith.

Harry Gregson-Williams scored SPY GAME, his first solo effort for director Tony Scott, emphasizing techno-flavored action cues.

Paul Haslinger's score for the underrated teen drama CRAZY/BEAUTIFUL emphasized ambience over emotion and melody.

David Holmes supplied suitably hip and trendily cool music for the blockbuster remake of OCEAN'S ELEVEN.

Joe Hisaishi provided a pleasing noir score for Takeshi Kitani's cross-cultural gangster film BROTHER.

James Horner wrote a lengthy orchestral score for the uneven but enjoyable Stalingrad-set ENEMY AT THE GATES, with a stirring main theme reminiscent of John Williams's Schindler's List.

James Newton Howard wrote an entertaining, big-scale symphonic score for Disney's animated ATLANTIS: THE LOST EMPIRE, and forgettable romantic comedy music for AMERICA'S SWEETHEARTS.

Surpassing John Debney as the year's most prolific film composer, Mark Isham provided restrained and warmly effective music for two unconvincing dramas, THE MAJESTIC and LIFE AS A HOUSE. He wrote a forgettable suspense score for DON'T SAY A WORD, which featured additional music by Graeme Revell, and an even duller sci-fi score for IMPOSTER, for Don't Say a Word director Gary Fleder. He also scored the fact-based kids sports drama HARDBALL and another youth oriented film (and his highest grosser to date), the interracial romance SAVE THE LAST DANCE.

Trevor Jones provided effective orchestral Grand Guignol for the disappointing film version of the stylish graphic novel FROM HELL.

Rolfe Kent continued to be typecast in comedy with his frothy scores for KATE & LEOPOLD and LEGALLY BLONDE, as well as two less successful films in the genre, the long-in-production TOWN & COUNTRY and the Ashley Judd vehicle SOMEONE LIKE YOU.

David Kitay wrote his best score yet for the Oscar-nominated comedy-drama GHOST WORLD, his main theme finding just the right tricky tone.

Daniel Licht wrote a pleasingly Christopher Young-esque score for the incoherent teen horror film SOUL SURVIVORS.

Scheduling conflicts left Jerry Goldsmith unavailable to score DOMESTIC DISTRUBANCE, so Mark Mancina composed an effective suspense score with echoes of Basic Instinct. He also composed an effectively unnerving and unmelodic score for the surprise hit TRAINING DAY.

Mark Mothersbaugh gave Wes Anderson's THE ROYAL TENENBAUMS a quirky, classically-tinged score that typifies the distinctive sound of their collaborations.

Peter Nashel provided minimalism-tinged tension for the stylish but overrated arthouse thriller THE DEEP END.

David Newman brought his usual energetic comedy stylings to DR. DOLITTLE 2, and utilized a mixture of period and more modern elements for THE AFFAIR OF THE NECKLACE.

John Ottman took a break from thrillers with BUBBLE BOY, giving the early Jake Gyllenhaal vehicle a perky comedy score.

CROCODILE DUNDEE IN LOS ANGELES was the final big studio release from composer Basil Poledouris (reuniting with Lonesome Dove director Simon Wincer), but the score was a synth dominated disappointment.

John Powell had the rare chance to score a "people movie" with his low-key score for the Oscar-nominated I AM SAM, while providing perky action-comedy music for RAT RACE, the effects-laden EVOLUTION and the American version of Les Visiteurs, JUST VISITING. He collaborated with Harry Gregson-Williams on their third animated feature for DreamWorks, giving the blockbuster SHREK a satisfyingly varied and humorous score.

Trevor Rabin provided a run-of-the-mill synth-dominated action score for the Jet Li sci-fi thriller THE ONE. He was a surprising choice to score the year's two little-seen Westerns, and his score for the underrated TEXAS RANGERS was much better than his work for the unconvincing AMERICAN OUTLAWS. Considering his history with the group Yes, he was an unusually appropriate choice to score the Mark Wahlberg comedy ROCK STAR.

A.R. Rahman wrote a memorable song score for the wonderful Bollywood musical LAGAAN, which was one of the nominees for Best Foreign Language film.

Graeme Revell's last-minute score for LARA CROFT: TOMB RAIDER was cold and rather heavy on the rhythm, and made a better impression on disc than it did in the film. He provided dour music for the coke dealer biopic BLOW, and a lively comedy action score for DOUBLE TAKE.

Richard Robbins provided typically pretty orchestral accompaniment for the dull but beautifully photographed Merchant-Ivory film of THE GOLDEN BOWL.

Bennett Salvay composed an effective but fairly generic horror score for the sleeper hit JEEPERS CREEPERS.

Lalo Schifrin had the highest grossing film of his career with RUSH HOUR 2, expanding on his lively music for the original.

Theodore Shapiro's score for David Mamet's HEIST was an energetic treat though it bore a strong resemblance to Goldsmith, particularly L.A. Confidential.

Edward Shearmur's pleasant score for K-PAX was in the Thomas Newman vein, and blended nicely with the Sheryl Crow end title song.

Alan Silvestri's score for the romantic comedy-thriller THE MEXICAN was an even more explicit Ennio Morricone homage than his Quick and the Dead score six years earlier, while he provided a pleasantly low-key romantic comedy score for the familiar SERENDIPITY.

Ondrej Soukup wrote the lush, John Barry-ish score for the Czech Republic's submission for the Foreign Language Oscar, the WWII romance DARK BLUE WORLD.

Yann Tiersen's accordion-flavored score for the popular French import AMELIE incorporated new material as well as earlier compositions and was an international hit.

James L. Venable provided a lively pastiche score for the surprise hit JAY AND SILENT BOB STRIKE BACK.

Stephen Warbeck provided an old-fashioned romantic score for the poorly reviewed CAPTAIN CORELLI'S MANDOLIN, with a catchy if vaguely familiar operatic main theme, and a romantic if repetitive score for the WWII drama CHARLOTTE GRAY.

Hammer films composer David Whitaker made a welcome reappearance with his tense score for the award-winning French thriller WITH A FRIEND LIKE HARRY.

Nancy Wilson scored VANILLA SKY for her husband, Cameron Crowe, and her guitar-based score featured an effectively subdued main theme as well as an original song, "I Fall Apart."

Christopher Young had a rare chance to score a Hollywood action blockbuster with SWORDFISH (in collaboration with Paul Oakenfold), and his clever, lively music was one of the few redeeming elements of this borderline-offensive mess. He had an even rarer opportunity to score a Hollywood romance, the remake of SWEET NOVEMBER, and his dramatic restraint was welcome but not enough to save this unconvincing (Keanu Reeves as a driven yuppie?) film. His music for the failed suspense thriller THE GLASS HOUSE was effective enough but less inspired than his usual work in the genre, and he wrote an atypically lighthearted score for Barry Levinson's picaresque caper comedy BANDITS.

Hans Zimmer wrote an ambitious, classically tinged score for the HANNIBAL, though the lavish but unsatisfying sequel could have used a composer with more orchestral and dramatic finesse. Zimmer collaborated with Heitor Pereira for his fourth Penny Marshall film, the unconvincing memoir RIDING IN CARS WITH BOYS, and with Klaus Badelt on the grim score for Sean Penn's all-star drama THE PLEDGE.

RAT RACE - Elmer Bernstein
SCARY MOVIE 2 - George S. Clinton
TEXAS RANGERS - Marco Beltrami
WHAT'S THE WORST THAT COULD HAPPEN? - Marc Shaiman
ZOOLANDER - BT

A.I. Artificial Intelligence, The Affair Of The Necklace, Ali, Along Came A Spider, Amelie, American Outlaws, An American Rhapsody, Atlantis: The Lost Empire, Baby Boy, A Beautiful Mind, Black Hawk Down, Black Knight, Bride Of The Wind, Brother, Bubble Boy, Captain Corelli's Mandolin, Cats & Dogs, The Caveman's Valentine, Charlotte Gray, The Crimson Rivers, Crocodile Dundee In Los Angeles, Dark Blue World, The Dish, Domestic Disturbance, Donnie Darko, Don't Say A Word, Enemy At The Gates, Evolution, Final Fantasy: The Spirits Within, Focus, From Hell, Ghosts Of Mars, The Glass House, The Golden Bowl, Gosford Park, Hannibal, Harry Potter and the Sorcerer's Stone, Heartbreakers, Hearts In Atlantis, I Am Sam, In The Bedroom, The Invisible Circus, Iris, Jay And Silent Bob Strike Back, Jeepers Creepers, Joy Ride, Jurassic Park III, Just Visiting, K-Pax, Kate & Leopold, Kiss Of The Dragon, A Knight's Tale. Lagaan, Lantana, Lara Croft: Tomb Raider, The Last Castle, Last Orders, Life As A House, The Lord Of The Rings: The Fellowship Of The Ring, The Luzhin Defense, The Man Who Wasn't There, Memento, The Mexican, Monkeybone, Monster's Ball, Monsters, Inc., Mulholland Drive, The Mummy Returns, The Musketeer, Novocaine, O, Ocean's Eleven, The One, Original Sin, The Others, Pavilion Of Women, Pearl Harbor, Planet Of The Apes, The Pledge, The Princess And The Warrior, The Princess Diaries, Rat Race, The Royal Tenenbaums, Rush Hour 2, Save The Last Dance, The Score, Series 7, Session 9, The Shipping News, Shrek, Soul Survivors, Spy Game, Spy Kids, The Tailor Of Panama, Thirteen Ghosts, Town & Country, Trouble Every Day, Waking Life, With A Friend Like Harry

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