Wow. Just... wow. Amazing. Finally, someone says what needs to be said.
Saturday, July 31, 2010
Private Lessons (1981)
Directed by Alan Myerson; written by Dan Greenburg; produced by R. Ben Efraim
Quite simply, this is a movie that's really, really hard to look away from. It was on Showtime last night--I swear, it's been on one Showtime channel or another every few nights since 1983--and I had to shut off the TV before getting caught up in it again. It's just so bizarre. I watch it and all I can think is "Holy shit, someone actually made this movie? And a studio actually released it? In a theater? And people went to see it?"
This is an asinine movie. And an off-putting one. It stars Howard Hesseman--overacting in a terrible wig--as a chauffeur who mentally tortures a rich teenage boy by forcing an immigrant housekeeper (Sylvia Kristel) to seduce him, and then faking her death and blackmailing the kid.
A word about this kid, the unfortunately named Philly Fillmore. Played by Eric Brown, whom you might remember from Waxwork or as Buzz Harper on Mama's Family, the kid is 15 but he looks like he's not quite 11 yet, which makes his quest to see his friend's sister (Pamela Jean Bryant) naked understandable, but makes his attempt to romance older women profoundly disturbing. The first time we see him, he's basically trying to get his teacher to go out on a date with him. Then he's seduced by Sylvia Kristel, and the two of them actually fall in love with each other, and then at the end of the movie we're supposed to believe that this moon-faced youngster is a confident, swaggering man, who romantically charms that same teacher and basically promises him a date later.
This movie makes me cringe. But, like I said, I'm bizarrely fascinated by it. Like watching someone get hit by a train. I just can't look away from this low-brow escapade.
I will say this: Sylvia Kristel is beautiful. The soundtrack is amazingly good. And Ed Begley Jr, in a small role as a friend who pretends to be a cop and harasses Hesseman, is hilarious.
But my goodness, this is everything that was ever completely wrong about American filmmaking.
Really just because I saw someone make their own list and I didn't agree with it. The reason most lists are made...
Friday, July 30, 2010
Last Sunday, Jaquandor posted a link to a recipe for Chicago-style deep dish pizza crust. Now, I loves me some deep dish pizza, and I hadn't had any in over a year, so I figured we'd just have to give it a try. Becca dove into the recipe, in after a couple of hours, my home was blessed with this creation:
I almost cried when I first saw it. I was definitely overcome. Something so beautiful, coming from our kitchen. And it was delicious. It was just... so perfect.
It was like my beloved Giordano's, but for a third of the cost. And we made it with, you know, love or something.
BECCA: I read in a book today that Quick Kick is one of the G.I. Joe characters that gets killed.
ME: Yeah; in the comics, they kill off a bunch of characters in a big explosion.
BECCA: Quick Kick? I'll bet you forty bucks someone fragged him. He was doing that lame ass Bogey impression and someone just popped one in his skull. I hate Quick Kick.
I'm still not sure if I'm going to bother to watch American Idol without Simon Cowell, but I was relieved to hear that Ellen DeGeneres is not coming back. Nothing against her personally, but I really thought she was a poor fit for the show, especially when it went live. She was nervous, and she obviously didn't like saying anything negative about the contestants, and worse than the usual criticism of her not being very funny on the spot is that she never had anything really cogent or helpful to say about music or performing.
Former producer Nygel Lythgoe is coming back now, and he's talked before about what a bad idea having four judges was (eats up too much time) and apparently now he's talking about cleaning house and starting again with new people. I really, really hope this happens. I despise Kara and her "Now here I am coming down from the mountain to bring you my divine word" mien, and I don't ever have to hear Randy's non-committal "You did your thang" ever again. Maybe we could also do away with hearing "pitchy" ever again, which is not really a judgment for professionals. (Jeez, just tell them that they went flat on one note and went too sharp in the next one to over-compensate. Then maybe a contestant would know what to work on, for once.)
I agree with the people who assume Nigel Lythgoe, already enjoying judging So You Think You Can Dance (a show I don't watch), will want to also judge American Idol. He keeps saying he wants to get a real professional as a judge, like Elton John, but I seriously don't see that happening. Sounds good when you're whipping up media excitement for a show with slipping ratings, but it's not realistic.
One name I have heard dropped is Jessica Simpson, which is something that would get me to watch the show in a heartbeat. I love seeing Jess on TV, and let's face it, her music career is dead in the water right now. Also, she's got an insight into what record labels want to see from people--she's been vocal in the past about her fights with Casablanca Records over her weight, her image, her voice, and the type of music she wanted to record. I don't know, I know you're not a Jessica Simpson fan, but I'd much rather watch her than have to go through another season of "Yo, dawg, yo, pitchy, pitchy for me, dog" and "Everybody wait for my dramatic pause while I give you the wisdom that only years of writing teen pop can bring."
I guess we'll see what happens.
UPDATE 4:20 PM: I just read that Kara has definitely been dismissed (thank you!) and that Jennifer Lopez may be in. I... don't know how I feel about that. I understand why you might pick her, I guess.
Thursday, July 29, 2010
BECCA: “Maybe it’s just because I haven’t watched an episode of Family Guy in a long time, but I am really irritated! This show is so annoying! Just tell a fucking story, you don’t need all the asides—they aren’t funny anyway!”
Becca and I are still doing our re-watch of the original Star Trek series. We just finished the second season, so since I did this with the first, I thought I'd give you some impressions of mine.
1. Amok Time (my rating: 5/5)
This holds a special place in my heart because it's the first episode of Star Trek I ever saw. What an introduction! My Mom had been trying to get me to watch the show for some time--it was being rerun on a local channel every Saturday afternoon--and I finally gave in. I was 9 or 10 at the time. I immediately was hooked in. It's not just nostalgia that drives my love for this episode, though: it's also really, really freaking good. And Leonard Nimoy does, I think, some of his best acting as Spock here.
2. Who Mourns for Adonais? (4/5)
Okay, the big hand in space is pretty cheesy, but this is one of the series' better explorations of the relationship between god and man. And I think Michael Forest is really good as Apollo. I have to say, I'd forgotten how irritating Chekov can be on this show. It's also irritating that already he's everywhere, as though Captain Kirk has taken a special interest in this ensign with the bad accent. I don't know, he reminds me of how annoying Wesley Crusher was on the first season of Next Generation.
3. The Changeling (4/5)
Star Trek: The Motion Picture, Take One. This is a good episode, though--and one of the times Jim discusses a computer to death. Unfortunately, the DVD I got from Netflix was badly scratched in this episode. But I remember this one pretty well from seeing it several times, and I always liked this one. When I was younger, Nomad really freaked me out.
4. Mirror, Mirror (5/5)
I just always thought this episode was so much fun. And I love Uhura on it, especially. I have a weird tendency to forget just how good she could be on this show when she was given something to really work with. She really needed a lot more to do. Forget Chekov, we need much more Uhura.
5. The Apple (3/5)
This episode is a lot like George Pal's 1960 version of The Time Machine. And again, Chekov irritates me. I don't really have much else to say about it. This is the season where Shatner started to gain a lot of weight, then was able to lose it. In a few episodes, his girdle is way too obvious, especially when he's wearing that green blouse. It's weirdly distracting.
6. The Doomsday Machine (5/5)
I f I have one problem with this episode, it's William Windom's performance as Commodore Matt Decker. I think maybe he wasn't given the best direction. He's supposed to be traumatized and then really driven. He's great in the driven, Ahab/Queeg scenes in the second half of the episode, but when he's the recently traumatized Decker, he comes across as either crazy or drunk. I don't know, it's hard to get into him as a character at first. But this episode is really magnificent, I think. It's very dramatic, between Kirk and Scotty trapped on the Constellation and trying to get it working, and Decker's obsession, and Spock's attempts to take command of the Enterprise. Fantastic.
7. Catspaw (3/5)
Silly. The Dark Shadows episode of Star Trek, and the most egregious use of a wig for Walter Koenig to make him look like one of the Monkees or the Beatles or whatever the hell they were going for. (Seriously, it looks like a hat, and it looks like he should be standing guard at Buckingham Palace.)
8. I, Mudd (4/5)
I like this second Mudd episode much better than the first one. Roger C. Carmel is still great as Mudd, but this one is funnier and I like how Mudd and Kirk have to work together. Harcourt Fenton Mudd really is a great character to have out there, sort of half piratical and half desperate con man. He's a great foil for the very military-esque Kirk. And this has the classic scene where everyone acts crazy to make the fembots short circuit.
9. Metamorphosis (4/5)
Star Trek really went to the well a lot on having a female crew member fall in love with an alien or give up her life to host an alien. They do it again here, but I like the way Gene Coon's script is able to balance the love story of Zefram Cochrane and the Companion with Kirk's sense of duty. I had never actually seen this episode before. I almost always like the Coon-scripted episodes; he really knows what the characters are capable of. The fact that Star Trek can at time be very philosophic, but also very character-driven, is what makes it so loved decade after decade.
10. Journey to Babel (5/5)
Mark Lenard's Sarek is one of the best supporting characters in Star Trek history. There is so much going on in this show to love--the appearance of so many diverse aliens, the murder mystery, the examination of Spock's ethics and his relationship with his parents, who represent the two halves of his biology... this is just a fantastic episode.
11. Friday's Child (4/5)
The silly costumes are a bit distracting at first, but I like this episode. The Capellans are an interesting race of people, and the ethical implications here are very good, with the Federation and the Klingons appealing to them for mining rights, and then the interference with Julie Newmar. Good fight scenes, too. Tige Andrews as Kras, though, seems more like a thug than a Klingon commander.
12. The Deadly Years (1/5)
I just thought this one was silly. How is it that elderly Kirk has less hair, and then suddenly more hair?
13. Obsession (5/5)
One of my favorite Kirk episodes. That Vampire Cloud freaked me out when I was a kid, too. But I like the driven, obsessive Kirk, trying hard to make up for what he's always considered a mistake from his past, and been haunted by. It's a great companion to "The Conscience of the King," which is also about Kirk's past.
14. Wolf in the Fold (2/5)
I've never cared much for this episode, with Scotty accused of murder after murder, and with all of the Jack the Ripper stuff. James Doohan has a lot to do here, and he's very good, but the rest of the episode just kind of bores me. Also, this is one of the worst uses of a fight double in the history of television. Little John Fiedler--also the voice of Piglet--suddenly grows half a foot and becomes a muscular thug with a very, very obvious bald cap when he's fighting Kirk. It's so silly it really deserves to be ridiculed. If they were going to have a fight double that bad, they should've just gone for a joke and thrown in a black dude.
15. The Trouble with Tribbles (5/5)
Kirk pushes Scotty hard to go have some shore leave--doesn't he remember what happened the last time, when Scotty was accused of murdering all those women? At least here he just gets into a bar fight. I really enjoy this episode, for a lot of reasons: William Schallert, Kirk being so angry and touchy about his mission, Stanley Adams' very good performance as the delightful Cyrano Jones (another great character, who is especially funny during the bar brawl sequence), the humor, Michael Pataki as Korax (a great Klingon character), Uhura being wonderful. It's really a great, great episode. About the only thing I didn't like was William Campbell showing up as Koloth. Not only is he not a very good Klingon character, but I keep thinking of Trelane.
16. The Gamesters of Triskelion (1/5)
I appreciate seeing Uhura in her sort of gladiatrix costume, but this was romantic silliness. At times it almost feels like a Gor novel.
17. A Piece of the Action (5/5)
One of my all time favorites. This one's silly, too, but it's also hilarious. Shatner is especially funny, as his Chicago gangster accent gets more and more over the top as the episode goes on. It's a throwaway, and it's fluff, but it's fun fluff.
18. The Immunity Syndrome (5/5)
Shatner, Nimoy, and DeForest Kelley are really at the tops of their game in this one. Spock's reaction to the deaths of the all-Vulcan crew of the Intrepid, Kirk's wrestling with the decision to send Spock or McCoy to their possible deaths, McCoy's and Spock's combative relationship first going too far ("You speak about the objective hardness of the Vulcan heart, yet how little room there seems to be in yours.") and then softening into real friendship ("Then employ one of your own superstitions. Wish me luck."). This is a great character episode.
19. A Private Little War (2/5)
Nancy Kovack is my choice for sexiest of Kirk's Babes of the Week. I like this episode, for the most part, although I think its attempt to comment on the Vietnam War is a little ham-handed (and absolves the US a little too much of its involvement). The Mugato is a great creature, and I think Dr. M'Benga is a neat character. Not a great episode, in my opinion, but a solid one.
20. Return to Tomorrow (4/5)
First of all, great score on this episode. Some very romantic themes to highlight the return of three superior intellects who need to use Kirk, Spock, and Lt. Commander Mulhall's bodies to save themselves. (Diana Muldaur is very good as another woman who gives her body for science--for as progressive as Star Trek can be about the capabilities of women, it's still firmly stuck in the 1960s.) I liked the conflict here, and the character interplay. Nimoy and Muldaur are especially good together as their borrowed egos, Thessala and Henoch.
21. Patterns of Force (3/5)
The Nazi episode. This is a really dark episode, but not at all bad. Really, it inspires no other comments from me. Weird.
22. By Any Other Name (3/5)
"It's green." Doohan is great in this episode. I was really freaked out as a kid by the way the villain could turn people into these little cubes. Kirk and Kelinda... I think I've had enough of Kirk seducing aliens into helping him. It's cheesy.
23. The Omega Glory (1/5)
Okay, here's a nitpick: Dr. McCoy, you're a doctor in the 23rd Century, you should know that human beings are not 96% water. More like 70. I just had to get that out. This episode, with its ham-fisted attempt to enshrine the glory of democracy, is just silly. There's some good sort of cat and mouse stuff with Kirk and Captain Tracey, but the whole thing just makes some stupid, silly leaps.
24. The Ultimate Computer (5/5)
Excellent episode, one I'd never seen before and easily one of my favorites. I like the remastered effects in this one, with the multiple ships. I thought it was a bit cliche, even for 1968, to have a computer gaining its own sentience--in science fiction, it's too often painted as the logical conclusion of computer intelligence--but they gave it a nice explanation, I thought, with the discussion of engrams. And even if they resort to the old saw of Kirk discussing a computer death, it's a gripping episode. And I liked the way it touched on Kirk's indignant attitude towards being replaced by a machine--something still relevant today.
25. Bread and Circuses (4/5)
It's basically "Patterns of Force" all over again, only with Rome instead of Nazi Germany. But I enjoyed this one probably more than the other one, if only because the characters are more interesting. Good satire on TV, too, especially with the ratings trouble the show was having at the time.
26. Assignment: Earth (3/5)
Gene Roddenberry attempts a spin-off. I like this episode, but it's kind of lame how time travel is treated as routine. Also, lots of egregious use of stock footage. But I liked Gary Seven as a character, and I loved Teri Garr, as I've been wont to do since childhood. Gary Seven reminded me a lot of the Doctor--his pen is even like a sonic screwdriver. I wonder if Assignment: Earth would've made an interesting series. The Enterprise crew is really just background in this one; it's not an essential episode--it's barely an episode of Star Trek--but it's kind of a neat diversion. I like the cat, too. The Doctor should have a cat. By the way, can you imagine if a series like this had a finale with an attempted spin-off episode today? Fans would demand someone be strung up for it.
Wednesday, July 28, 2010
ME: Could you hand me my glasses?
BECCA: I don't know where they are.
ME: They're where they always are.
BECCA: I don't know where that is.
ME: Well, every day for the past 10 years we've lived here, I put them in their case on the coffee table where the bills are.
BECCA: Well, dude, sorry, they aren't my glasses. Is a wife always supposed to know where her husband's glasses are?
ME: [because I enjoy antagonizing, er, teasing her] A good one, yes.
BECCA: Oh, yeah? Where do I keep my glasses, smartass?
ME: On the table where the lamp is, next to the candles.
BECCA: ... Feel free to go fuck yourself while I go get your glasses.
A review of the film I've seen this past week.
THE INVENTION OF LYING (2009)
For all of Ricky Gervais' cynicism, it's surprising to me how much of his work is really based around emotional sincerity. This movie takes a place in a world where everyone always tells the truth; Gervais plays a loser who figures out how to lie to turn his life into what he wants it to be (or, in one emotional scene, accidentally invents monotheism in order to comfort his dying mother). It's an interesting premise, one that almost works, except that it meanders a bit in the third act, when Gervais is just sort of pining for Jennifer Garner, who loves Gervais but wants to marry another man (Rob Lowe) with better genetics. (Either way, both men are too old for her; come on.) There's a lot in there that's good, but it doesn't always work, and the message I think the film is trying to make--that you should follow your heart--sort of gets lost. Still, I'd recommend it if you like Gervais, and it's got a very good cast that includes Tina Fey, Louis CK, Jeffrey Tambor, and Jason Bateman. *** stars.
THE CLIENT LIST (2010)
Lifetime movie with Jennifer Love Hewitt as a woman in dire financial straits--the house is going to be foreclosed on, she has three children, and a husband who is having a hard time finding a job. She turns up at a massage parlor that's doing a lot more than administering massages. J. Love is good in it--and I love that she's still showing off a body that gets better with age--and it's more grounded in reality than your average Lifetime movie. As always, it bugs the shit out of me that she sacrifices everything--even her self-respect--for her family, and her husband can barely look at her afterward after all she did for him and the kids. It pisses me off the moral judgments of these movies sometimes. And the film is much less soapy than these affairs tend to be; she's pushed to the end of her rope when she gets into prostitution. I think that elevates it from the usual campy Lifetime fare. *** stars.
THE STORY OF LOUIS PASTEUR (1937)
As the title says, the story of Louis Pasteur, a man mocked by the scientific establishment for pursuing things that we take for granted: namely, the germ theory of infection. Pasteur was working in a time when doctors were still offended by the idea that they should wash their hands, because gentlemen were always clean--in much the same way kings are supposed to be chosen by God and contact with the bible destroys sinners. Paul Muni is very good as Pasteur, who overcomes banishment and ridicule to find vaccines for anthrax and rabies. The sort of old-fashioned biopic Hollywood used to be so good at. **** stars.
THE LIFE OF EMILE ZOLA (1936)
Paul Muni is rather more affected than I think he needed to be to play the great writer who stood in court during the Dreyfuss Affair. I admit, this one shook my attention a couple of times; it's a long movie with a lot of speeches, and since the second half of the film focuses almost solely on the Dreyfuss Affair, Zola's fight for social justice is slightly muted by the one-dimensional portrayal of the French military establishment. Fine courtroom scenes, though. Not a bad movie, but it didn't compel me the way it could have. *** stars.
YOUTH IN REVOLT (2010)
Michael Cera plays a high school student who falls in love a girl and does everything he can to be with her--including some accidental arson and creating an inner persona based on French New Wave films named Francois Dillinger. It's really about a loser on a quest to get laid, but I like the way the film plays with its premise by, essentially, making a French New Wave film about intellectuals. It reminded me of Godard and Bunuel, only with modern American high school kids. I enjoyed that; I've never quite seen it done (and done well, too). I especially liked Cera as Francois Dillinger; it was like nothing he's done before. ***1/2 stars.
Posted by SamuraiFrog at 2:04 PM
I got spoiled by having two episodes in a row all summer; having just one episode felt a little off to me, especially since it was followed by what amounts to half of the American premiere of MasterChef (about which more later).
So, no one got eliminated. It was pretty status quo: Holli continues to be beautiful and talented, Jay continues to be arrogant but talented, Autumn continues to be an enigma to me, and Benjamin continues to be a total douche bag. The challenge to teach someone with no cooking experience how to make one of Ramsay's dishes was interesting. Even I was surprised by how Benjamin crashed and burned with that one, considering he's supposedly a culinary teacher. Getting irritated with a student asking questions? Wow, he must be as much of a joy to learn from as he is to work with.
I wasn't surprised Jay won; his student was the only one who knew everything that was in the dish.
As for service itself, I was glad Jay took the lead. As much as I want Holli to win, I can see Jay taking it. He seems to have everything Ramsay is looking for: he can lead, he can work as a team, he's consistent, and he's clever. What I don't like about him is that he has an arrogant streak to him--it's not as bad as Ben's, but it's there. Still, I guess no one gets to this level by being a nice guy all the time. If he does win, I wouldn't consider it undeserved at all.
Autumn... Autumn, Autumn, Autumn. Here's what I don't like about Autumn: when she took Holli's fish up too early, and Gordon tried to call her on it, she clammed up tighter than a wet drum. She doesn't take responsibility for her mistakes, and that's always been one thing I've hated about her. Still, there's part of me that's on her side because she's put forth for elimination every damn time, regardless of how she does, because everyone has it out for her. It passed irrational long ago. And a lot of it is coming from this rampant sexism on the part of Benjamin and, to an extent, Jay. I was actually pissed off when Jay was supposed to pick two people for elimination, and his first choice was Autumn.
Really? Autumn? Yeah, you know what, she's not going to win. Good for her for making it this far, but her time is coming. Still, we got the silent treatment again from an overwhelmed Benjamin, and it slows everyone down when he can't communicate. I don't know how this guy teaches culinary students. I have to assume that working with people he has authority over and who defer to him as a teacher is what's giving him this overwhelming confidence that he's been able to back up with almost nothing. His silence in the kitchen comes across to often as this sort of strident arrogance, but I think it's really fear and uncertainty. He thinks if he has a minute to reset, he can keep going, but it slows everyone down.
Sorry, Jay, but your real dilemma should've been Autumn or Holli; Benjamin should've been your first choice. The fact that he wasn't--because he's your friend--doesn't show great judgment to me.
Either way, no one got eliminated. But next week, two of them will. Which is kind of a shame, because I really just wanted to see the look on Benjamin's face when he went before Autumn. I wanted that to happen more than I want Holli to win.
As for MasterChef... undecided. I think it was a mistake to show half of what obviously should have been a two hour premiere. I'm going to watch the whole thing; I've watched every show Gordon Ramsay's done, and I'll watch every show he's going to do. As much as it's based on a BBC program (and isn't this the second American version? For all of the assertion that this is America's first, I believe it was on PBS a couple of years ago, too.), you can tell it's a Fox program, what with the interest in prolonged, emotional scenes that, in my opinion, the show hasn't earned yet at all. And as hard as Ramsay can be, this Joe Bastianich is someone I find to be insufferably pompous, with his judging looks at people.
I'm sure I'll have more to say later, but for now, I'm just looking at the food. And damn, that baked macaroni and cheese looked good to me. That show made me so damn hungry!
With the bad financial state we're in, I've been forced to give up soda. I know, I know, I've given it up in the past and always gone back to it. Still, with it being cost-prohibitive right now, I don't currently have the opportunity to go back to it, so I haven't had any soda in a month. Which means less sugar, a lot less caffeine, and less corn slurry run-off in my body. I haven't had a Coke in 30 days, and it actually feels pretty good. I have more energy, more focus, and I'm sleeping better. It's been nice to get away from something I've been addicted to. (I've actually overdosed on caffeine--which I didn't even know you could do until I put some symptoms into Web MD--a few times over the last decade.)
So, it's a small triumph, but a triumph nonetheless. I'm going to try not to introduce it back into my system. I don't even want soda anymore, so maybe I've finally--finally--kicked that habit. And if I didn't, I can't afford to buy anymore right now, anyway.
I swear to you, I had an easier time giving up smoking ten years ago.
Tuesday, July 27, 2010
Monday, July 26, 2010
Sunday, July 25, 2010
Roger linked this in the comment section of my Selena Gomez post the other day, and I just had to put it up as the Song of the Week. I love this song, from one of my favorite Beach Boys albums (Surf's Up, 1971). It's just so gentle and feels good when you hear it. So, so pretty, with Bruce Johnston's lovely vocals, and perfect for lovely Selena Gomez and a sun-kissed Sunday afternoon.
After doing my list yesterday of 25 favorite albums of the past 20 years, I thought I'd give a shot to listing my favorite 25 film scores from the same time period. This list was much, much harder for me to make. I narrowed it down to about 97, and had to whittle away from there.
Again, these aren't the ones I'm claiming as the best of the best, just my favorite among favorites.
These are in chronological order.
1. Edward Scissorhands, Danny Elfman
2. Beauty and the Beast, Alan Menken
3. Hook, John Williams
4. Batman Returns, Danny Elfman
5. The Last of the Mohicans, Trevor Jones & Randy Edelman
6. The Age of Innocence, Elmer Bernstein
7. Army of Darkness, Joseph LoDuca
8. Jurassic Park, John Williams
9. The Nightmare Before Christmas, Danny Elfman
10. The Piano, Michael Nyman
11. Tombstone, Bruce Broughton
12. Little Women, Thomas Newman
13. The Shawshank Redemption, Thomas Newman
14. Toy Story, Randy Newman
15. Princess Mononoke, Joe Hisaishi
16. Galaxy Quest, David Newman
17. The Star Wars Prequel Trilogy, John Williams
18. The 13th Warrior, Jerry Goldsmith
19. Harry Potter and the Sorcerer's Stone/Harry Potter and the Chamber of Secrets/Harry Potter and the Prisoner of Azkaban, John Williams
20. The Lord of the Rings, Howard Shore
21. Spirited Away, Joe Hisaishi
22. About a Boy, Badly Drawn Boy
23. Spider-Man, Danny Elfman
24. Howl's Moving Castle, Joe Hisaishi
25. Brokeback Mountain, Gustavo Santoallala