I'm less a fan of Silvestri's action music, generally, though his work on Predator/Predator II is pretty excellent.
Kamen had the occasional excellent action cue, but I wouldn't say it was remotely his forte. I think his real strength was in writing warm emotion. (Again, I could also say that about Jerry Goldsmith though.)
So yeah, I also think James Horner's action music could get pretty raw and brutal at times.
Lillian's Heart Attack: back when I first watched Brainstorm in 1984, that scene hit me like a bolt out of the blue. Magnificent scoring. I still don't think anything since has matched it's raw intensity. Pure cinema: a great performance from Louise Fletcher, great editing and incredible music. It's a shame it's stuck in a film so few have probably seen.
Lillian's Heart Attack: back when I first watched Brainstorm in 1984, that scene hit me like a bolt out of the blue. Magnificent scoring. I still don't think anything since has matched it's raw intensity. Pure cinema: a great performance from Louise Fletcher, great editing and incredible music. It's a shame it's stuck in a film so few have probably seen.
that cue still gives me goose bumps. The eerie strings that reflect the emanating final tape and the ghostly choir just nails it.
