Yeah, you can vote for yourself, but it doesn't look like it'd make a difference here. Dome wins 4-2.
ROUND 2, MATCH 3 ---------------------------
David AC Lawrence of Arabia Psycho Gladiator The Omen Star Trek: The Motion Picture American Beauty Aliens Empire of the Sun Ghost Planet of the Apes (1968)
VS.
Agee Bassett Alexander Nevsky Vertigo The Big Country The Sea Wolf Ben-Hur Southern Comfort Things to Come Ivan the Terrible, Parts I & II King's Row Citizen Kane
David AC Lawrence of Arabia (great) Psycho (great) Gladiator (no thank you) The Omen (very good, but The Final Conflict is better) Star Trek: The Motion Picture (great) American Beauty (good) Aliens (a rip-off of Outland and Khachaturian, but not bad) Empire of the Sun (very good) Ghost (very good) Planet of the Apes (1968) (great)
VS.
Agee Bassett Alexander Nevsky (great) Vertigo (great) The Big Country (great) The Sea Wolf (great) Ben-Hur (great) Southern Comfort (not a Ry Cooder fan) Things to Come (great) Ivan the Terrible, Parts I & II (great) King's Row (great) Citizen Kane (great)
David has a handful of truly great scores mixed in with a few lesser ones, but Agee, with the exception of Southern Comfort, has amassed a list of unassailable classics.
David AC Lawrence of Arabia--Magnificant Psycho--Listen to those strings work! Gladiator--Lisa Gerrard and the main heroic theme is a pleasure, everything else is suspect The Omen--Brilliantly scary Star Trek: The Motion Picture--Good, but I think the overexposure of the Enterprise theme might have me biased against it American Beauty--The best of its kind, which isn't saying a whole lot in my book Aliens--N/A Empire of the Sun--Very strong emotionally, but at times overbearing Ghost--N/A Planet of the Apes--Inventive score that adds much to the film
Agee Bassett Alexander Nevsky--Maybe the greatest film score of all time. Vertigo--Among Herrmann's best, which is saying a ton. The Big Country--The Main Title is among the most thrillingly jolly cues of all film scores. The Sea Wolf--Sort of like a film noir score, ferocious. The Finale delivers a big kick. Ben-Hur--Obviously towering, great fanfares and choral work. Unfortunately, I like everything in this score except for its main themes. Southern Comfort--N/A Things to Come--The sweeping Epilogue is a favorite, especially coming after some tenser cues. Ivan the Terrible, Parts I & II--Goes from heroic to twisted like no other, and all the choral work is just stunning. King's Row--The majestic main title doesn't give hint to how brilliant the theme will be used through the score. Infinitly listenable, especially with those hissing original tracks on the Rhino set. Citizen Kane--Put this along side with Ben Hur and declare me nuts, but I think this isn't among Herrmann's best, though still good.
Angelo M. The Last Emperor Blade Runner The Mission Miller's Crossing The Untouchables Crouching Tiger, Hidden Dragon The Red Violin The Piano 'Round Midnight Mambo Kings
VS.
Kirk Tsai E.T.- The Extra Terrestrial The Adventures of Robin Hood Bride of Frankenstein Conan the Barbarian Legends of the Fall The Legend of the Pianist on the Ocean To Kill a Mockingbird Henry V Much Ado About Nothing Batman
Angelo M. The Last Emperor (okay) Blade Runner (okay) The Mission (one of Morricone's best) Miller's Crossing (okay) The Untouchables (one of Morricone's best) Crouching Tiger, Hidden Dragon (okay) The Red Violin (okay) The Piano (okay) 'Round Midnight (basically a soundtrack) Mambo Kings (basically a soundtrack)
VS.
Kirk Tsai E.T.- The Extra Terrestrial (classic) The Adventures of Robin Hood (classic) Bride of Frankenstein (classic) Conan the Barbarian (classic) Legends of the Fall (One of my favorite Horner scores, even though he owes a debt to Barry) The Legend of the Pianist on the Ocean (I've never heard it) To Kill a Mockingbird (classic) Henry V (I don't know if you're referring to Walton's or Doyle's, but both are superb classics) Much Ado About Nothing (a personal favorite) Batman (perhaps Elfman's best)
Kirk Tsai, easily.
*Post edited to reflect Mr. Tsai's real first name.
Whoa, did we have another Erik? My choice of Henry V is Walton's. Thought about choosing Doyle's (love it too), but Much Ado About Nothing is my favorite of his.
Angelo M. The Last Emperor--Pretty great, even though I think some of the supposedly Chinese music is contrived. Blade Runner--Okay, so the synthesizers work here, not bad. The Mission--stunning, my favorite Morricone Miller's Crossing--Burwell has a way of writings scores that sound other-worldly and fitting to the film at once, and this is a good example. The main titles is both fun and mournful. The Untouchables--Find the film and score to be both overrated in general Crouching Tiger, Hidden Dragon--Like the mournful and conflict theme (first heard in A Wedding Interrupted) a lot. The Red Violin--N/A The Piano--This great score is as integral a part of the film as anything 'Round Midnight--N/A Mambo Kings--N/A
Sorry about that, Kirk. I've been writing "Erik" a lot on this forum lately due to the tournaments and drafts, so I guess it's become a habit.
Much Ado About Nothing is also my favorite Doyle score, although I pretty much like every score he's composed, and Branagh seems to bring out the best in him.
Burwell is an excellent composer who manages to nail every film he works on, but I can't say all of his scores make great listening experiences when divorced from the film. (I watched The Spanish Prisoner for about the 10th time the other night, and I do wish, however, that that score was released!)
I really like Morricone's The Untouchables and think the film is great as well.