So, fun film, very stylish, but here's the best part (other than Christopher Walken's hillarious musings about the Japanese car industry)... Harry Gregson-Williams and Lisa Gerrard! Lisa's voice is seldom used and with great effect; the only weak part comes near the end with a Gladiator-like interlude—a shorter "Now We Are Free." Harry Gregson-Williams has produced, in my opinion, his finest score to date with Man On Fire: the swimming and training themes in the film are very nice and impressive; his string writing works wonders too. Some of his music is used in the trailer: specifically, that ultra-cool heavy metal theme for Denzel (not on Jim Dooley's site with the edited section of the trailer score). But his style has certainly matured far beyond anyone else at Media Ventures (if that even exists still?), and also, his music is now surpasssing Hans Zimmer's recent wanning efforts. You know, as much as I love Hans' work, The Last Samurai was pretty drab for something he talked about so excitedly about, and so much for Matchstick Men and Tears of the Sun.

I noticed on the poster that there is no advertisement for a Man On Fire score and I hope that changes (couldn't stay for the end credits, but maybe there was indication there). For anyone who likes Harry's music, this is certainly a treat, and makes ya' wonder what's going with guys like Hans Zimmer and John Powell (who seems unable to get past his goofy cartoon phase, even with the moderately serious Paycheck).

Watched it, loved it; heard it, loved it; and can't wait for this release! Hope you guys like as much as I did.

I've always been up and down with Scott's films. He's done some crappers in his time: Top Gun, The Last Boyscout, Enemy of the State, and Spy Game top that list; I'm temped to put Days of Thunder in there, and yet I find that film very entertaining and fun. Certainly Beverly Hills Cop 2 had a huge impact on action filmmaking and ranks as one of his best—just watch A Better Tomorrow and you'll see what I mean. His best, other than Man On Fire, are True Romance and Crimson Tide, both interestingly enough, with screenplays by Quentin Tarantino; for Crimson Tide he was brought in for re-writes (just listen to the Silver Surfer references, the Star Trek warp speed references, and the discussion about Spanish horses at the end between Denzel Washington and gene Hackman: very nice touches!)

The style of Man On Fire was pretty much over the top with some of the subtitles, like when people were yalling and such it was amusing. Man On Fire is very stylised eye-candy; I got the same impression watching Torque earlier this year, as well. (Where's that Trevor Rabin score? It's quite good.)

Anyway, my feeling is that the studio, or whomever, CAN'T NOT make a score album for Man On Fire: it's too good and too noticeable to let it slide.

Oh, holy christ. Please: varese, La La Land, someone who reads this board and can do something about this GET ON THE HORN and CHANGE THIS!

From the opening notes of this score, I was like "I'm buying this, ASAP" and it proceeded - with a few rare loud/atonal exceptions that worked in the movie but I can see being jarring on an album release/listen - to get better and better. Probably the best thing HGW has done, very textured, very beautiful.

All of the Lisa Gerrard stuff was either taken directly from or modified off of her recent album which is a beautiful, beautiful album, for those that were wondering. (if you don't have it - buy it if you're at all a fan of hers/GLADIATOR, it's terrific stuff)

I always wanted a full release of THE FAN and now if they don't release this, I'll be really p.o.'d. I mean, come on; they released Harry's PHONE BOOTH score -- from the same studio! (Though maybe the poor returns on that one -- which came out months before the movie, when the movie was still slated and before it got moved because of 9/11 -- caused them not to put out this one. The label was the same one who did SOLARIS, too. Splendid, or something like that?)

I WANT THIS SCORE! Sorry. Hasn't been much in the way o'movie music that's clicked with me of late, save HOUSE OF SAND AND FOG, Two TOWERS and PASSION OF CHRIST, but I was a big fan of this score -- oh, and save for a few things here and there (i.e., it's butt-numbing length), I liked the movie a lot too.

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--Bri Guy

--Brian